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of the 
REY ATSSANCE 

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PRANCE 

: By 

TIUEELM LU.B KE 
Second improved and extended Edition 
With 163 woodcut illustrations 
STUTTGART - | 


1885 


Translated by Ws CLiftord Ricker. De Arche 

‘Bneritus Professor of Architecture | 

| ONTVaRSTEY: OF ILLINOIS — | ie 
Urbana. Tl. 


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2 
Preface to the First Edition. 

For evident reasons in the treatment of the French Renaissa— 
nee, I must abandon the systematic handling, that Jacob Burck-’ 
hardt devoted to the Renaissance in Italy and return to the 
historical representation. France, unlike Italy has not creat- 
ed an entire art from the spirit of the people, in which all 
life finds its glorified expression, but from external impal- 
ses caused by its princes, in the midst of a still mediaeval 
fesling world, much interested and indeed misled by Sothic tra— 
ditions, an arlhitecturce was produced that chiefly came into 
use on secular buildings, indeed in the first line on the pal- 
aces of the king and of the nobles. Thereby the tendency of F 
French architecture becam onesided, and its expression infin- 
itely varied, so that it obtains both for the historian as 
well as for the practical architect « special value. Hvery— 
one will trace with intersct the sharply drawn line of the 
movement, in which from the play of indepéndent caprice and 
choice, there sradually developed simplicity, clarity and gra— 
ce, & new and entirely peculiar style. This will not be obs— 
erved without instruction, as 2a still actually creative period 
has understood by the senius of careful artists, how to impress 
the canons of antique forms end the influence of Italian art 
on an entirely original and national architecture. National in 
the only sense permissible in architecture, that it sives to 
the customs and views of the separate peoples in a definite ep— 
och a corresponding artistic stamp. For the forms and details 
are beyond all national restrictions, as the ever valid laws 

d conditions, the common property of mankind. That outside 
a time like our own, whose peculiar architectural problems lie 
in the domain of secular architecture, from the french Renais— 
sance buildings, that were created for allied needs and under 
Similar climatic conditions, many things can be lsarned, is 
self evident. 

In the representation, since description must necessarily 

redominate, I have endeavored to proceed as briefly and cle— 
arly,as accurately and perspicuously as possible. Likewise [I 
feel that without illustrations my purpose can be only part- 
ially attained. A series of characteristic illustrations, in 
sSreat part transferred to the wood blocks by Professor and 
Architect Baldinger, have therefore been. added. Some are 


ae. oy. oe add port . 
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3 
entirely new from photographs, others from the travel sketches 
kindly transmitted to me by my friend G. Lasius. The publishers 
as always have then taken my wishes into account with the most 
meritoriug Liberality. Further I refer to the numerous vaiuab— 
le publications of french architects and engravers, from Da 
Cercean till the most recent time, particularly to the new ed— 
ition of Du Cerceau’s well known principal work, recently und- 
ertaken by M. Distailleur. (A. Levy. Paris). 

Since my description is the first attempt of an independent 
and exhauative treatment of this subject, so will a fairly 
judging critic tertainly take this into consideration. It is 
to be hoped && will neither miss the conscientious study,nor 
the earnest endeavor for objective appreciation of the art 
worth of the works described. But for the present sensration 
of architects, I am of the opinion, they should lay to heart 
the thorough study of the Renaissance before all else, since 
we can learn just from. the creations of that epoch, how an 
architecture extending meyond mere eclecticism, with cntire 
freedom employs the sum of classical araditions of form, in 
order only to craate the best suited and most expressive clot— 
hing for the spiritual nature and the practical needs of our 
own time and our own peoples. 


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A 
Preface to the Second Edition. 

Since the appearance of the first edition of this book, our 
lnowledse of the French Renaissance has been considerably ext— 
ended. First we owe to the recently completed works of Palus—’ 
tre a considerable increase of later views. These results as 
well as those of my own local studies will make more valuable 
the new edition of this book, for a lons time entirely out of 
print, which was my principal aim. The structure that I const— 
ructed has experienced no internal transformation, but indeed 
9 considerable external enrichment. A perception very pleasing 
tome, for I must derive from it the conviction, that I had 
rightly conceived all essentials and had fixed a permanent 
sSeneral view in the history of art. That the new edition can 
receive besides this enrichment of the text, also an import— 
ant increases in the illustrations by well chosen representa- 
tions of unpublished monuments, will considerably extend the 
values of the book. Likewise by wider studies was secured a sub- 
stantial enrichment; I Gall attention to the Sections on Jean 
Foucquet, On king Rene, and to the important illustrations in 
French books. 

But then was the rich and splendid domain of French indust— 
rial art, that here for the first time is treated in connecti- 
on with the architecture of the period. While here was requir— 
ed a restriction to French art, peculiar and prominent, this 
is to emphasize joinery and wood carvings, the important domain 
of French ceramics with the magnificent works of Palissy and 
the splendid creations of Oiron faience, and also of Limousine 
enamels, glass painting, and finally bookbinding. 

All these tendencies and endeavors of the French Renaissance 
art are so important to recommend for the study of our artists, 
architects and workers in the industrial arts, that for a long 
time too exclusively and without choice came.to a labored imi— 
tation of our German Renaissance, frequently with a dry and 
overloaded progress in modern production, that never goes be- 
yound the limit of the old original works. This tendency must 
not merely be to the Italian Renaissance, but also to the 
French, whose refinement and artistic harmony can be instruct—- 
ive to us in a high degree. For all that science discovers 
shall. come to the aid of the creative life, to transpose it 


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6 
Chapter I. Transformation of the French Spirit. 

1. Italian Gampaigns of gharles VIII and of Lovis XII. 
Charles VIiI“had freed France from the English, Louis XI by 
the overthrow of the sreat vassaissand by favorins the citizen 

class strengthened the royal power and furthered the unity of 
the kingdom. Those were the conditions obtained under which 
France could enter into the new period. But to entirely break 
with the middle ases required a foreign infiuencse, from the 
country which already since the beSinnins of the 15 th centu— 
ry had decisively passed alons the new path, and in a magnif— 
icent reflection of the art and science of classic antiquity, 
even strove to transform the entire life. A heriditary claim 
led Charles VIIT and Louis XII with prancis I later beyond the 
Alps: but a deeper Sround was the surplus strength of the fre- 
shly blooming French nation, and was during the entire middle 
ages the desire impellinsg the Germanic races toward the South, 
which occasioned these numerous campaigns. The capricious jour— 
ney of Charies VIII undertaken without discretion and prepara— 
tion, makes rather the impression of an arrogant wantonness &t 
than of an earnest campaign. There is an unbroken series of f. 
festivals in which Charles became intoxicated with his knights. 
as youthful as himself. In Turin the princess of Piedmont in a . 
fabulously rich procession and surrounded by a multitude of 
young ladies began a series of festivities; in Asti the beaten 
L. Sforza sought to entrap the foolish and weak, casily impas— 
Sioned king by: fifty of the rarest and least coy beauties; in 

j s an entire chorus of supplicatins dames by which men 
sought to induce him to free the city from the Florentine yoke. 
The host of the French everywhere received by triumphal arches, 
scenic representations, historic paseants and magnificent pro— 

ssions. The climax was attained by this invasion of Naples, 
whose luxérious festival was a second Capua for the king and 
his men. Charles was particularly charmed by the beauty of the 
Villa Pogsio reale, that residence adorned with ali the charm 
of the early Renaissance, with its airy porticos, fountains, 
beds of roses, and the shady masses of the trees in.its park. 
Serlio gives in his book a description and representation of — 
this now vanished pleasure palace built by king Alfonso. In 
the middle, he says, Saszatrechbangular Couriiaiti atdesp basin 


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Surrounded by ercades, down to which led flishts of steps. Here 
the king dined on fine days with selected ladies and cavaliers, 
and when he pleased, the basin was filled with water to a fixed 
mark, the men and women remainins together in an improvised 
bath. There were not wanting rich garments for clothing them 
asain, nor costly beds for those needing rest. “O delights of 
Italy,” adds the narrator in his inspiration; “how were our 
discards extinguished by itt re 

Thus a world of unexpected beauty displayed itself to the 
excitable Frenchmen. Instead of their mediaeval castles surr-— 
ounded by walls and mnat, protected by lofty and threatening 
towers and cronning battlements, they saw the princely and 
magnificent open palaces with their loSsias and arcades, their 
decoration by marble, paintings and sculptures, the villas wi- 
th wide porticos and masnificent sardens. At home all was gio- 
omy, defiant and warlike; here ail was gay, open and with fre— 
sh life. We know what weaith of masterpieces orisinated by two 
generations of architects, sculptors and painters, after Brun- 
ellesco, Ghiberti, Masoccio in Florence and other cities of I- 
taly, in churches, chapels and palaces. Hven now the abundance 
of these charming works has a fascination on us; how much must 
then such beanty have appeared to the unaccustomed northeners 
in the full charm of novelty. The massive ashlar masonry of & 
the Florentine palaces even finds mention by the dry chronic— 
ler, and palace Medici (Riccardo) then gleaming in sblendor and 
ewness, which was assigned to the king as a residence, appear— 
ed to him as entirely built of marble. But by preference were 
described the charms of villas, that in their free combination 
of architecture, gardens and parks always aroused astonishment 
anew. All this makes a deep impression upon Charles; we see B 
him in Florence and Rome diligently wandering about, particul— 
arly around the churches and to cbserve their remarkable things; 
we see him purchase art works and books, and himself invite a 
number of artists to France, to execute works there for him. , 

Yet stronger were the influences of Italy under Louis XII. 
More clearly are recognized the impressions of Italian art in 
the lists of the chroniclers. Thus Jean of Autun describes the 
beauty of the parks of Pavia, its magnificent sSroups of build— 
ings, of luxuriant meadows, brooks and fountains, ornamental 


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8 
gardens and pleasure houses, that make it appear to him to be 
a real Hiden. So he sives an accurate description of the cathe— 
dral at Genoa with its portal, aisles, columns of porphyry, 
chapel of John the Baptist with statues and a marble taberna- 
cie and its statues. Likewise the beautiful works of M. Givi- 
tale of Lucca deeply impressed the eyes of the royal histori- 
osrapher, although he does not give the name of the master. 
But also he does not forget the finger of the saint, with whi- 
ch he had pointed out the Lord, and that “supernaturally was | 
exempt from the power of fire.” The astonishment at Italy was 
also reflected later in Rabelais’ Pantasgruel, where Epistenon 
tells of a visit, that he made years pefore together with oth- 
ers desirous of learhing, in order to see certain learned men, 
rarities and antiquities. “We saw attentively the beautiful 
location and magnificence of Florence, the building of the ca— 
thedral, the noble temples and the proud palaces.” On the con— 
trary 2 monk of Amiens says:-“I know not what you make for a 
joke, the lion and African (so I think is called what men els— 
where name a tiger), to look at them there by the watchtower, 
like the ostriches and hedsehogs in the palace of P.Strozzi. 
My faith, I would rather see a fat goose on the spit. The por— 
phyry and marble there are beautiful, I do not blame them; but 
according to my taste far better are the butter cakes of Ani- 
ens. These antique statues are well made, I am willing to be-— 
lieve; but by S. Ferrecl of Abbeville, our little .maid at home 
is a thousand times more affectionate.” . 

Also Louis XII brought art works from Italy as well as art— 
ists, among the latter being first of all Fra Giocondéo, the: 
famous Venetian architect. Yet we should search in vain for 
any vestiges of his work. On the contrary we possess the hist— 
orical work of ©. Seysssl, that the king had taken into his 
service as historicsrapher.’ 

2. Infiuence of the Italian campaisas on the nobility. 

The Prench nobles were still entirely involvéé in the mode 
of life and opinions of the middle ages. In the Italian can— 
paigns was recognized the last blaze of the knightly spirit 
and at the same time the first markskof the decadence, from 
the coming of the new civilization. Charles VITI Grew the 
mediaeval sword aS & romantic adventurer for the conquest of 


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9. 
Naples And the entirely fenciful taking of Constantinopkés Pr- 
ancis I was the last knight and at the same time the destroyer 
of knighthood. Still the noble dwelt in his strong castle, but 
his power was broken by Louis XI, the royal power increasing 
more and more; thus from knighthood gradually came 2 court and 
mors nobles in the service of the crown. The noble ladies sat 
at home in the old custom in their lonesomecastles, surrounded 
by maidens of distinguished race, bringins up children, embroi- 
dering, reading and even writing. We have & pleasant represen— 
tation of such life from Gabrielle de Bourbon, the first wife 
of the brave Louis de la Teemonille, who Bimself wrote little 
treatises “in honor of God, of the Virgin Mary and for the in— 
struction of young ladies.” 

But the knights themselves in great part were not friendly 
to the sciences and arts. The poet Alain Chartier complains; 
“the more this foolish speech is current today, that a noble- 
man should not favor letters and esteem it a reproach to read 
well or arite well.” Returnins from his campaigns the French 
knight disdained the Italian because of his effeminacy, that 
usually is inssparable from a high bigon of culture; yet the 
views there obtained of a magnificent azz transformed his spi- 
rit, and unnoticed he prought the sciences and arts from Italy 
home with himself. But the strongest shock was received by the 
feudal life by the changed method of war of the new period, 
the introduction of heavy suns and the overpowerins importance 
of infantry. The knightly man in heavy armor on his also arm— 
ered horse no longer gave a shock as before; his armor was for 
him rather a protection. An@ likewise did it result for the 
feudal castles, whose walls could resist the heevy cannon just 
as little as the called power of the kingdom. Thus all contri- 
puted to transform the nature of the nobility. 

Nevertheless the old traditions are so powerful, the feeling 
and consciousness of warlike fitness so predominant, that kni- 
shthood but slowly and with difficulty save up its feudal char- 
acter. How small was at first even the influence of Italgan c 
campaigns is noted by the statements of the chroniclers and 
historians. They present scarcely anything except as tales of 
warlike deeds, in any case alternating with descriptions of 
festivals, whose climaxes are tournaments in mediaeval fash- 


“to fp 1 y tes atkob emotadya she 
‘exotetaele to ic tote) “et08 ever pea Vi #6 Qntd edt ote 
“eign 8s ybesest 6 yilsatt bee td is 


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pee gpa Ue pe mt 
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od dent eonebiess, tnoottinges ent 
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om 


Ni ea en 
ee 


10 
fashion. First under Henry II the new time comes to a breach, 
and Brantome telis of a feast, which the cardinal of Perrara 
gave to the kins at Lyons, where were combats of gladiators in 
-antiaque fashion, @ sea fight, and finaily a trasedy as the best, 
which was exhibited by Italian actors and actresses, public én- 
joyments as the narrator assumes, that previously never occur— 
red in France. 

Until the time of Louis XII and even to that of Prancis I 
one hunts in vain throush the mass of memoirs for artistic or 
literary records; even for Italian buildings or sculptures 
are found only scattered notes. Thus there penetrates into 
French Lifs 4% first but sparingly the influence of Italy. In- 
deed we already read under Louis XI of an entry, that he held 
in the year 1461 at Paris, of sirens represented by three nude 
maidens, who received the kins, and that the chronicler des— 
cribes with sufficient naivety. We are indeed sometimes told, 
$hat the young nobles delight in playing ball, that it is ex- 
pressly stated was introduced from Italy. 

Another time a Florentine female dancer exhibits her art 
before Louis XII. Moreover the sense for the higher beauty 
remains obtuse in the man of the more cultured circles, indesd 
is absent. Only certain minds like Cominis’ have an eye for it 
in the nidst of his diplomatic transactions, this statesman 
still finds time for observations of all kinds. He describes . 
the houses of Venice with their facing of Istrian marble, por— 
phyry and serpentine; with the splendid furnishing of their 
rooms, the silded and painted ceilings, the marble fireplaces 
decorated by sculptures, the costly beds, rugs and other furn— 
iture. He tells us that the ashlars of palace Doge are silded 
at the joints for an inch in width, that withan the halls is 
the gleam of gold and colors.’ He is astonished by the masgnifi- 
cence of the marble of the Certosa of Pavia, the most beauti- 
ful church that he ever saw? it is he by whom we obtain infor- 
mation of the ertistic undertakings of Charles VIII. But besi- 
des him and his successor, it is the minister of Louis XII, 
cardinal George of Amboise, who deserves merit as the promoter 
of a new and higher life of culture. Nothing gives so high an 
idea of his love of art as the magnificent residence that he 
built at Gaillon, and which he adorned with all magnificence, 


‘TY anilos aisia qo om : 
Sasernt beib get: Leni he che 
Netidn ,susteib ge) -: 
oi “tao bleoe ‘od 


Piaie ‘“ 5 soit 


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= ad) gnawed) Se 
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although the chateau was not his own property, but was that of 
the archbishop of Rouen. In the same spirit Julius IT and Leo 
built, except that the art love of the cardinal was disinter- 
ested, since by state affairs he was kept far distant, while 
during the entire period of his government, he could only visit 
his loved creation a dozen times for a few days each. 

3 Influence of antique studies. 

Louis XI had already invited Greek learned men into hist co= 
untry, who increased the library and began to reorganize the 
university of Paris. Charles VIII and yet more Louis XII cont- 
inued these endeavors, and sought in a11 ways to further the 
classical studies. The antique studies first caused a revolut-— 
ion in literature, that was however but siowly completed, being 
at first much restricted by pedantic awkwardnéss. Most crhoni- 
clers still persisted in the naive tone of their plain and una— 
dorned narrations; but others strove for the fame of the hist- 
orian, turned to an artistic representation, struck out mors 
pleasins ways, and began to imitate the antique historians. 
Ranke strikingly remarks:- “The Italian spirit was incited 
by the classical models to the imitation of their forms, the 
German by the study of the language was led back to the docu- 
ments of the faith and their adoption in spirit; the Prench- 
man placed himself in contact with the diversity of the con- 
tents of the ancient authors, namely directly with the hist—- 

orical. On the form of French literature the aCheaen sey 
ad nao special influence.” 

The best example of this is offered by Jean avuatens Louis 
XIT’s historicgrapher and court poet. Hven in the preface of 
his work he states, that as amons the Greeks and Romans the 
pen of a flusnt writer and pleasing orator contributed not 
less to the well-being of the stats, than the spear of the 
bravest warricr, sc has he Ssiven all toil with ink and paper 
to make use of public affairs according te his powers. His 
book is crowded with ancient quotations, that are brought in 
with much Labor, and oddly interrupt the naive tone of the 
narration. Thus when he compares a storm by the French army 
to a siege of the underworld to carry off Proserpina end fary— 
dice; whén he contrasts the moderation of the king to the lux— 
ury of Sardanapalus; when he compares the fields set on fare 


aod 


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12 
by the enemy with Phaeton’s fall to the burnings earth: when in 
mentioning the island of Mitylene he displays a knowledge of 
Greek traditions and history; but particularly when he allows 
his heros to give beautiful conventional orations in the style 
of Livy. He misuses Latin or rather counterfeits it es follows. 
(See text). 

Blsewhere he has the naive opinion, that it is no wonder that 
the books of the Greeks, Romans anf”’other barbarous peoples” 
are richer in beautiful words and praiseworthy matters than 
“ours,” which comes from the lack of good stylists. (By the 
way the Greeks never dreamed of this use of the word barbarous). 
No less pedantic is the endless Lamentation for the death of 
Tomasina Spinola of Genoa, was so fondly in love with Lonis 
XII, that she actually died after the false news of his death. 
All Grecian mythology was plundered in her honor, Neptune sol- 
emnly gave an address, the judses of the dead, the fates, Hai- 
ads, dryads and oreads, nereids and satyrs, were invited, and 
all famous lovers in antiquity were lied under contribution. 

By such ornate tastelessness, the story of that unlucky skep- 
Sic can cause no wonder, that antique mytholosy had so risen 
to his head, than in S.° Chapelle he received the host from 

the celebrating priest with the words; “shall this folly con— 
tinue forever?” Jean d’Auton states ansrily that he recogni- 
zes only Jupiter and Hercules as gods, denies all laws save 
natural ones, and even reached the assertion, that the blessed 
will find no paradise other than the Champs Elysees. The poor 
knave was accordingly burned with justice, as the chronicler 
naively adads:- “and he was burnt alive as he desired.” 

How far the desire went for making allusions to the antique 
is proved among other things by the diary of Louise of Savoy, 
mother of Francis I, who with all brevity of those scanty notes 
till found time to refer to Cesar’s Commentaries and to state 
hat by #he:nRomans Ardres was called Ardea and Calais Caletum.”: 
The same ledy shows us that with these studies were connected 
noteble tendencies to freethinkins, which were mixed with won- 
derful statements of mediaeval superstotions. She is of opinion 
shat in war long paternosters and muttered prayers are out of 
place, for that is a cumbersome matter, that in battle only 
fellows used, who do not know what to do. Besides are indeed 


ek 


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ve Sety lon 


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(fe 
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13 


numerous traces of a mere superstition. 


Thus we find everywhere in this time the same mixture; med- 


iaeval opinions breathed on by the spirit of the new time, and 
in this fermenting process the former is evermore supplanted 


by the latter; the gloomy scholasticism of the Sorbonne by the 


free revival of entique literature, the severe discipline of 
the ancestors’ life in castles by the unrestricted companion—— 
ship of the court, the knishtly method in battle by the new 
conduct of war with infantry and firearms. At all points a 
new gas enters the spiritual atmosphere; this is still heavy, 
cloudy and turbid; but it begins to move, te roll up and to 
divide. Just so externally shall we find the antique forms 
affixed to Gothic ¢@onstructions and plans of buildings. Ths 
ineLingtion is and continues for 2 considerable timé connected 
with the mediaeval, since but occasionally does a new means of 
expression slip in. 

4. Jean Fouguet.’ 

Ts the most notable appearances of the transition period 
belongs the painter Jean Fouquet of Tours. We possess numerous 
works investigating him, so that here is no need to return to 
what is senerally known. We know thet he is designated as“the 
good painter and illuminator of king Louis XT,”and that he or- 
namented a number of manuscripts by miniatures for that prince 
and other distinguished persons. Here belongs the French eadit— 
ion of Josephus in the National Library,at Paris, probably ex- 
ecuted for the duke of Nemours about 1465. Among the 19 pictu- 
res therein must 9 be referred to Fouquet’s hand. Likewise 
there ig a French Livy also aderned by miniatures by Fougquet. 
Another Livy with the master’s pictures is found in the libra— 
ry of Tours, a Virgil in the library of Dijon with miniatures, 
that perhaps belong to his school. More important is another 
work, a prayerbook for Etienne Chevalier, treasurer of @har- 
les VIT and of Louis TX, that unfortunately no lonser exists 
as a whole, but of which no less than 40 miniatures are in 
the possession of #. Brentano la Roche at Frankfort on Mein, 
awhile tw other leaves passed to baron F. de Conches at Paris, 
snd to lady Springle in London. 

Another work remaining to us is perhaps the earliest, the 
Peench translation of Boccacio’s “House of illustrious men & 


. ey W 
pal on y 7 , , 
‘1 wedi ¢ ce Toheh nd! 


‘ae t , 
ey COCO. 


Vee Me 
‘oe, 


4 


er Fy w#aeXenrnh 
YY ow a3 i mare a 


Binge r e ik 


up tataarhe a 


. st Le siete! 


q sexpscs raat: ~ 
- tose oredenes 


ae 


@Ardeat sabkence et La 


J . ut af 
aGGR TE 


La * 


Ssyr igidedns HSiw ,Sset geey 

ar ; = 
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Nas we * = 
; as ‘py y A ey 


14 | 
and women,”now in the court library at Munich. According to 2 
manuscript note the book was finished by the writer on Nov. 24 
of 1458, which the work of the master directly followed. Foug- 
ust stands in these creations not merely as one of the most 
eaninent niniaturists of ali times, but he unites in his art 
the advantasss of the Flemish paintings of the time with.the 
attainments of his [talian contemporaries. The Flemish realisn 
in the accorate representation of the rsality, the entirely 
individual forms, the rich costumes of the time, the perspsc- 
tively graduated landscapes and architectural backsrounds are 
combined witr that sense for rhythmic development of the comp— 
osition, such as the contemporary, Italian art had developed, 
particularly the Flemish school. Much recalls the mild grace 
of Fra AnSelico, particularly the noble style of the clothing, 
the expressions of the heads and the colorins mostly executed 
in a seals of light tones. But most strikins is it, that Foug- 
uct in his works besides the usually occurring Gothic buildin- 
gs, duck as his natives Lend offered him at every step, the ‘ 
forms of the Renaissance are employed with greater. prererence, 
indeed not in a naive mixture with mediaeval elements, such 
as were common in the entire North until late in the 16 th 
century, buy often in entirely pure and a striking manner, pro- 
ducing an understanding, so that one must say that Fouguet pre- 
ceded by more than the age of a man all other northern artists — 
of the entire Renaissance in this respsct. We consider that ab- 
out the middle of the 15 th century several famous Flemish ar- 
tists remained a long time in [taly, and not the slishtest in- 
fluence of the art of the South can be traced, so that the ap- 
pearance of Fouguet is only mors remarkable. Without question 
the artist, who may have been born between 1415 and 1420 in 
Tours, must have remained a longs time in Italy. Vasari states 
in his life of Filarete, that he caused to be painted by a 
very distinguished painter G. Focchéta (corrupted inta Foccora 
in the second column), the portrait of Pope Busenius IV. for $. 
Maria sopra Minerva. Filarete himself also states this fact, 
but where he corrupts the name of the painter to G. Francioso. 
This must have occurred in the year 1443, when Busenius IV 
feturned to the papal chair after his expulsion by the Romans. 
To the same picture refers the Italian humanist FP. Florio, who 


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| oe eet  SOED 
ae dein oi enistedsh 
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S xbooss ce 
egenpootg ori 
» Boots bate} 


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“yaimantad ea NLseiosy: 
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a ‘4 2 - anes * 
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about 1477 in a letter from Tours to his friend J. Tarlato el- 
evates J. Fochettus above all painters in the world, even bef- 
ore Polysnotus and Apelles, and especially cannot praise suff- 
iciently his paintings in the church of Notre Dame la riche 
furnished by Louis IX. After 1461 Fouquet then appears in the 
documents as an eminént master much cmployed for the French at 
his native placs, where he must have died about 1480. 

For our consideration it is of value to determine in what 
surroundings the master made the forms of the Italian Renais- 
sance his own. Let us first examine the Munich Boccacio, that 
by its splendor, its execution and the richness of its illus-. 
trations assumes @ high rank. Amons the 94 pictures is promi- 
nent by size and beauty the titie page 9.65 ins. wide and 
13.58 ins. hish, that represents the sitting of a court. 
Charles VII is himself enthroned in his parlement, surround- 
ed by the sreat dignitaries of the crown, while the procurat- 
or sensral reads the accusation, and in the foresround armed 
Suards sesk to keep back the people pressins forward. The 
pase with about 3800 fisures excels not only on size and rich- 
ness, but also in the delicacy of execution, sharpness of char- 
@cteristics and harmonious splendor of colors. Besides this 
sho# piece is also 2 number of other pictures to be referred 
to Fouquet himself, particularly the sreat representations 
which precede the different Chapters. Especially attractive 
is the scans repeated several times with variations, where 
Boccacis is seated at the writings desk, and in a dense sath- 
sping of famous men and women that approach him, as if they 
would hear him narrate their stories. The seat with its can- 
opy is Gothic, likewise the enclosing arch, but the surfaces 
of the spandrels are ornamented by antique medallion heads, 
and the termination shows Renaissance forms with volutes and 
the acanthus. For the last time appears the hand of -the mast- 
er on page 122. The greater number of the smaller illustrat- 
ions in particular were distributed to two assistants, one of 
whom sousht to approximate to the master, while the other by 
dead coloring and weakar drawing seems considerably inferior. 
For what concerns the architectural forms employed, thers ap- 
pear among the Gothic quite frequently the Renaissance forms; 
There are not lacking round temples with domes, antique port- 


cat | 1a sa BL 
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16 
portals and Corinthian pilasters; sometimes occur Roman triun- 
phal arches with all sorts of little variations, whereby the 
knowledge of Roman triumphal arches is undeniable. Where the - 
view in an apartment is siven, the border of the picture és a. 
rule consists of fluted Corinthian of Composite pilasters. 

Meanwhile if everywhere here the architectural accessoriss 
are rather modest, this assumes an incomparably higher import- 
ancs in the leaves et Frankfort, which according to ths often 
repeated inscribed evidence are from the prayer_book executed 
for “Master Estienne Chevalier.” As this work as incontestably 
denotes the climax of the artistic undertakings of Fouquet, he 
shows himself also in understandings and employing the architec- 
tural world of form as a man, that had fully mads his own the 
great innovations of Italian art. Already therefore this work 
must be designated as more mature and also the later. The art-— 
ist knows with full understanding how to represent the sights 
of his native city; he sometimes also employs Gothic forms for 
the general architecture of his compositions, sinc& the Annun- 
ciation occurs in a Gothic choir, where the Madonna has placed 
herself on a rug with a great prayer book, as if at home. In 
another case, hs has mixed both architectural styles in the 
most naive manner, thus in the veneration of the Madonna (Fis. 
1), where she is enthroned in a rich recess like a portal, wh- 
ose fillings shows the shell motive of the Renaissance. Still 
more strikins is the facings of the wall directly adjoining the 

ortal in the background by its fluted Corinthian pilasters and 
a continuous antiaue entablature. Likewise the nude boys stand-— 
ing thereon hold medallions and support festoons of fruits on 
their shoulders, that are elements of the Renaissance and sin- 
Sularly contrast with the clotned angel boys sometimes occur- 
ring on other leaves, and that by ths diaconal sarment ars re- 
cognized as children of the middle ases. 

Where the architect desires to develop the most solemn mas-. 
nificence, as on the noble title page, where the founder is 
recommended by his protecting patron S. Stephen and is accom— 
panied by musical angels and knsels before the Madonna, there 
doss the Renaissance come into full expression by fluted Cor- 
inthian pilasters, splendid panels on the walls, rich antique 
cornices with cupids holdins festoons. But characteristically 


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7 
enough the Madonna is enthroned in a Gothic niche, so that in- 
deed was chosen a form of mystic pomp for the gucen of heaven. 
At the mectins of Mary and of Elisabeth is seen at the side an 
altar structure beneath a canopy supported by Composite colum— 
ns, whose entablature and mouldings follow the Ionic order. In 
the charming scene in which the Apostles were plessed at the 
besinning of their wanderings (Fis. 2), there asain a wall clo- 
ses the backsround with marbles paneling and is subdivided by 
fluted Corinthian pilasters, terminated by a magnificent -ant- 
ioue entablature end cornice with ox skulis and garlands of 
fruits. On the corntce ar 
pairs supporting sabaieian shields and swing iokous beseoheae 
But the fountain that occupies the middle and sprays-with its 
er those kneeling shows Gothic forms. 
¢ vely appears the antique in the hishest splen- 
dor in the betrothal of Mary and Joseph, for a triply arched 
triumphal arch forms the background, imitated from Roman mod- 
eis even to the rich reliefs, the keystone adorned by sculpta— 
es, the soaring victoriss in the spandrels and coffers of the 
arched doorway. But remarkably this masterpiece of architecture 
that bears the inscription, temple of Solomon, is decorated by 
two Composite columns with twisted shafts, and in horizontal 
bands gitérnatelgdare covered by spiral flutes and scenes of 
20) kinds in relief. Where the artist borrowed these aspects 
hat hers appear for the first time, and then reappear in Ra- 
shielth cartoons for tapestries, to finally be transferred in 
the greatest monumental dimensions to the colossal .canopy in 
S. Peter’s, we know not. But what characterizes the entire. 
Renaissance forms of Fouquet is the fact, that they do not 
come from the overloadad decorative schools of upper Italy, 
whencs the German masters of Nurembers and Augsburs derived 
their views, but from the more severe Blorentine conceptions. 
Brunellesco, Masaccio, Fra Anselico, are the models of our 
master; particularly the mural paintings of the latter are 
furnished with backgrounds of a similar kind, where the flag- 
ed Corinthian pilaster plays a sreat part, That Fouquet with 
his tendency toward antique forms remained alone for half a 
century we shall see later. Lok se 
5. Book illustrations. 


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18 
5. Book illustrations. 

Later than the remarkable creations of Fouquet, but yet ear- 
Lier than the monumental appearance of the Renaissance in Pra- 
nce are the works of printing, so far as they relate to the 
artistic treatment of books. We have not here to record that 
effluence of abundant imasination, that intsllectual force and 
manifold sift of imegination, whica Germany presents in this 
epoch. With us it was thse victory of the Reformation, that 
produced a popular literature of inconceivable richness, and 
thereby a joy in artistic treatment, which by the activity of 
masters like Burgkmaier, Holbein, Kranach and others experien-—— 
ced the greatest advancement. In France, where the Reformation 
#aS soon suppressed, literature much rather remained in the ~ 
possession of the hisher circles, and it was first the court, 
especially of Francis I, the “father of letters,” that aided 
this tendency. Only very slowly did it break a path for its- 
elf, and much longer than in Germany the Gothic types conti- 
nued in use in printing, sincs especially in civic circles did 
men adhere with greater tenacity to the national style of Goth- 
ic. Then by the connections with Itely, by the campaisns of 
Charles VIII and of Lonis XII, the influsnes of the art of the 
South made itself felt, but finally Francis I became interest— 
ed in the inspiration of the new arts, and also the typosraphy 
must leave the old worn tracks and enter new paths. 

This now first occurred in the manner, that the printers of 
books simply caused to be copied the ornaments, borders, vaga- 
ettes, ornamental letters and the like for the decoration of 
their products, so that until the twenties of the 16 th cent—- 
ury such borrowed ornamental work is found in French. books. 
Thepefore resulted also for fhéisuecécdins time a tolerably 
closes adherence to Italian forms, and rather to rétiefetaan 
to the picturesqus treatment of the Italian illustrations. 
Francis I in his enthusiasm for the sciences and arts, caused 
an upward flight by his introduction of French typography. He 
confirmed the fresdom from taxes conferred by his predecess- 
ors én printers and dealers in books, created the court print- 
ing establishment, and gave privileges against pirating, cared 
for the improvement of the typography, while he aided the und- 
ertakings of G. Tory, S. de Colinis, R. Btienne, C. Neobar and 


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19 
others. Certainly he allowed himself to forbid the printing of 
books in 1584, for fear of the increase of the Reformation, 2 
and in 1550 the learned R. Estienne must flee to Geneva, bec- 
anse he adhered to the new teaching; but this could scarcely 
temporarily restrict the development of typosraphy, that un- 
til the end of the 16 th century always Be ababecte works worthy 
of sSnunanblveel: 

It is and remains characteristic for the French illustration, 
that like the entire art of France it remains chiefly under 
the influence of the court. Thereby it acquires the tendency 
toward the refined elegance, and in this respect recalls the 
miniature paintings of the middle ases, that for the same reas- 
ons in France probably strove for the charm of form. It is fur- 
ther worthy of consideration, that oncy the printins establish-— 
ments of Paris and of Lyons obtained an independent importance 
in their typosraphical undertakings; but so splendid were also 
their products, so undeniably in these works did the prench 
manifest their refined taste, that still France did not pres-. 
ent the picture of inexhaustibly rich variety.as did Germany, 
though in its entire character much dryer, where in numerous 
sreater. and lesser cities prevailed a surprisingly active com-— 
petition in the typosraphical work. We also find the same ten- 


Among the French prints from the end of the 15 th century, 
the most numerous are the prayer books known under the name” 
of “Sours”, ever asain reprinted anew, whose bulkiness gives 
the clearest proof of the firm adherence to the traditions of 
the Church. The first prints of this kind, that of S. Vostre 
of the year 1486 and those of P. Pigouchet and A. Verard in 
the two secceédins years still bear in their types as well as 
in their ornaments an entirely Gothic character. No breath 
of the art style is to be traced, and the ornamentation treat 
in the late mediaeval form is executed by hand paintings, so 
shat these small books at the first Slance make the impression 
of manuscripts with niniatures. This character still prevails 
in the Hours that J. de Brie published in 1510. Likewise here 
is almost entirely the stamp of the middle ases, the Gothic 
script, painted initials and pictures, the latter showing thea- 


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20 

themselves in the coarse-Srained style of the later period.of 
15 th century. But already commences the Renaissance to pene- 
trate though timidly, for at the outpouring of the Holy Spirit 
the throne of the Madonna and the surrounding portico skhibit 
the indeed quite dry and littie understood forms of the new 
Style. In the nearly contemporary Hours of G. Hardouyn still 
prevails substantially the same condition; Gothic script and 
richly painted late mediaeval ornaments. But the larger pic- 
tures are enclosed in poorly understood Renaissance borders, 
where beside pilasters wreaths of flowers hans from the ent- . 
ablature, and this being drawn with remarkable insipidity and 
dryness. But laso elsewhere is striking the architectural in 
Renaissance forms, thus at the death of Maria and at the out- 
pouring of ths Holy Spirit at the throne of the Madonna; on &. 
the contrary are the separate sides everywhere enclosed by me- 


diasval foliage ornament. In another edition of the Hours, that 


bears the name of thé same publisher,now abruptly appears the 
antique soript and chanses at a stroke the entire appearance 
of the book. The size is much smaller that that first descri-. 
bedand also th ths oquite unimportant pictures show a smaller.sizs. 
But the border is exactly the same with the dry pilasters like 
Doric, entablature and wreathof flowers. Here is also recogni- 
zed the contest of the new and old times, the notable ferment— 
ation in both world phenomena, which they opposs to each other. 
Extremely remarkable are the particular discourses composed 
by P. Gringoire in 1528. In spite of the preceding time the 
little book still bears the predominant mediaeval character, 
and especially is printed in Gothic letters. On the contrary, 
6 initials are antique, yet the ground is filled-by Gothic 
foliage. The pictures are dry with simple yst bold shading, 
many are well drawn and animated, yet in general of very var- 
worth. Thera is nowhere a suggestion of an ornamental. sn- 
osure. In the following year (1529) appearsd “Champflenry, 
in which is contained the art and science of the due and true 
proportion of the Attic lsiters, otherwise antiaue and common 
ly Roman letters proportioned according to the human body and 
face. At Paris by master G. Tory of Bourges, publisher and au- 
thor of the said book with Gourmont, also publisher.” Here we 
meet with the great endeavor of the Renaissance period to adv- 


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21 
advance everywhere to the last grounds, to refer everything to 
scientific laws, opposed to an important attempt to draw the 
newly recovered antique script in the proportions of the Auman 
figure and face, obtainins fixed bases. The book is finely pre- 
pared, especially adorned by a charming leaf alphabet on a li- 
ght sround. Strikingly dry is tne title pass, trifling in draw- 
ing and engraving, but it bears an elegant printer’s mark, a 
narcissus blooming in an antique vase. The final visnette shows 
the same mark, but enclosed by an extremely beautiful garland 
of fruits only drawn in outline with the greatest elegance. 
In the preface where also is cited the well known friend of 
books, J. Groliscr, the author indulges in notes on the changes 
and the decay of the French language; “for the greatest part 
the French languase will be changed anf perverted.’ The language 
of this time is altered in a thousand ways from the language 
that was here about fifty years since. The author of the book. 
of chess said in his time ’neaut plus’ and we san.’non plus.’ 
He said *bien est voir”, and we say ’bien est vray?”. 

In this work there is found for the time the great reformer 
of French printing, G. Tory, who is a friend of the famous 
printer S. de Colines, also sometimes as a printer himself 
not merely in the antiques script, but also in the entirs orn- 
amental treatment, brought the spirit of the Renaissance into 
authority (d. 1533). His spirted vignettes, the sraceful flow- 
er alphabst (fis. 4), the head bands of the Title pase (fig. 

3) introduce at a stroke the entire charm of the Renaissance 
into book ornamentation and sive for a lons time the prevail— 
ing stamp to French illustration. Besides him is principally 
Oroncs Pine to be named, who likewise starts from the Itelian 
Renaissance, but in certain forms follows old native traditi- 
ons, and first strikes a somewhat bolder tone (Fis. 5). Besi-. 
des these chief masters is alse to be named S. Bernard (the 
little Bernard), who after the end of the fortieth year supp- 
lisd for the printing of books at Lyons a multitude of ths 
most graceful works, richly ornamented alphabets, borders, 
visnettes and the like, but moreover he also drew precious 
Bible pictures, that in the smallest space, like the famous 
works of Holbein, indeed inspired the masters to develop the 
sreatest vivacity. French illustration attains its climax in 


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22 

the works of this great master. In his path then proceed the 
monosramists C. Be, P. V., and G L. These tendencies deternm- 
ine for a long time the character of the French illustration 
of books, until in the second half of the 16 th century the 
cartouche work appears with its dryer forms. Between them the 
ornamentation of the school of ponteainebleau influences by 
its Italian “grotesques”, that in Seneral is determinative 
for the French Renaissance. 

To the most graceful creations of French illustration belongs 
the Hecatomgraphie of G. Corrozet, that appeared by D. dJanot 
in Paris in 1543. The little book in Sedez is printed in beau- 
tiful antique script, the left sides being adorned by little 
ornamental pictures, mesks and littie 6rnaméntali pictures in 
the noblest styis of the carly Renaissance, the whole with a 
precious charm in its distribution of the space. The title 
pase contains a frontispiece, whose Composite pilaster shows 
border and foliase, and that is covered by a pretty little 
pediment. 

By the same publisher appeared a few years earlier (1539) 
the Theatre of good Machines by G. de la Perriers, likewise 
in Sedez, with antique script but cursive, the whole likewise 
very clesant, if not so ornamental as the book previously men- 
tioned. The title page is here more richly treated, the pilas- 
ters are Doric, bu. with projecting little baluster columns, 
whose shafts ars wound with vinss. The upper termination of 
ths earch is filled by volutes and foliage, and below is seen 
a pair of lovers in a sarden. Ths little historical pictures 
are at the left side, the explanatory verses at the risht. The 
former have all foun different bands as in ths before mention- 
ed book, while the latter has simpler enclosures and also shows 
four different patterns. In both works only certain initials 
are employed. 

To the most important products of the early time then belongs 
the Protomathesis of Orance Fine of the year 1532. The title 
pake exhibits a magnificent frontispiece, somewhat dry in draw- 
ing and boldly shaded, enclosed by Renaissance pilasters with 
foliage capitals anf sirens, with freely projecting candselabr+ 
as, little columns with ragged foliage and dolphins, fanciful 
crowning with scrolls, cupids anf salamanders, the last refer- 


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23 
referring to Francis I to whom the work is dedicated. In the 
tympanum if the arch is Hercules in the combat with the hydra. 
bikewise the dedicatory pase is adorned by rich scrolls with 
sirens, salamanders and baluster columns. Of unusual masnifi- 
cence are the alphabets frequently employed as initials (Pis.. 
6), partly very lersge with noble foliage, black on white ground, 
others with charmins Little fisures in a sreat 0 is the portr- 
ait of the artist. Also ths head bands are charming, which show 
sSsometrical instruments, compasses, protactors and quadrants 
in pretty leaf scrolls. 

About the middle of the century was completed the transforn- 
ation of the style. This shows itself already in J. C. Maire’s 
illustrations of Gard, that appeared from J. de Tournes in by- 
ons in 1549. The title page igS:already entirely treated in the 
dry and stiff cartouche style with its rolled bands and scrolls, 
and it exhibits also the completely changed taste in the figu- 
res, caryatids, fettered atlantes with buck feet, squat satyrs 
end the like. Magnificent are the initials, some very largé a 
and particularly beautiful with foliage on a dotted sround, o 
others with leaf ornaments of all sorts of little figures like- 
wise on dotted or drarkly shaded sround, all this in the best 
style of the sarly Renaissance, so that in the same works are 
found two modés of decoration: Also handsome head pands and v 
vignettes adorn the splendidly treated book. We find the same 
new cartouche style in the sreat folio volume on the evangeli- 
sts, which appeared in Paris in 1552, The title page exhibits 
a luxuriant cartouche work with masks and festoons of fruits, 
and those fanciful forms of satyrs with plaited serpents’ ta- 
ils instead of feet, such as were a favorite henceforth in the 
Franch Renaissance. The ornamental initials are mostly on a 
light sround, that is interwoven with Moorish ornaments, such 
as often come into use henceforth. (Fis. 8). 

In contrast thereto certain products of the press of the 
time adbere firmly for the same time to the modest and charnm- 
ing ornamentation of the earlier epoch. Thus particularly o- 
the ornamental little illustrated edition of Biblical storiss 
by the so-called little Bernard, as in French, German, Duten, 
Italian and even Spanish text,it passed into ths entire world 
after the fiftieth year from Lyons for several decades. The 


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24 
charming little pictures indeed betray the mannerism of the + 
time in the elonsated figures, but the title pases with their. 
fins scroll work still belons to the early Renaissance. The 
greatest variety and beauty are found in the Metarmoses of Ovid 
likewise illustrated by Bernard and published in 155y by J. de 
Tournes. Here also appears Moorish foliase ornarient from the 
damascening of weapons, already on the titles used in the most 
charming manner, wometimes white ornaments on black sround, a 
sometimes the converse. There further prevails én the rich bor- 
der designs, that enclose each side, the varied world of hern- 
es, mascarons and the like in the style of the school of fon- 
taincbleau (Piss. 9, 10). | 

In 2 splendid manner comes into use the style developed by 
the sreat architects about the middle of the century, in the . 
folic volume of 1549, that represents the entry of Henry If 
into Paris. The title pase is already kept entirely in the 
cartouche style; but especially the triumphal arches and oth- 
er magnificent decorations sive to the opinions of the time n 
now entirely dominated by the antique. No less than five such 
gateways, some with one and snme with three doorways, sive the 
different shadows of the antique architecture from the sinple 
Doric to the richest Corinthian style. Particularly worthy of 
consideration is ths bridse of Notre Dame, with its superstra- 
eture treated as a leafy vault, where sirsns support the ribs 
of the vault consistins of sarlands. Above the last richly ad-— 
orned triumphal arch, before which are placed on pedestals four 
strongly animated equestriag sroups, rises a hall “in the Frena- 
ch mode furnished with gbass windows.” 

To these works adhere the productions of the sreatest art 
theorists of the tims, among which J. Gousin occupies a preen-— 
inent rank. fin his Perspective that appeared in Paris in 1560, 
the title page (Fis. 11) already shows a composition in the 
most elegant cartouchs work with charming figures of the most 
fanciful kind, fauns, sirens and the like. Two nude women at 
the top hold the royal crown, which is flanked by genii with 
butterfly wings. It is one of the most beautiful and elegant 
craations of the time. On the first leaf oafcalmost double size, 
that is here folded in, are ssen within a dryly drawn cartiuche 
border “the five regular parts of Ssometry and certain persons 


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forsshorbened acccording to that art;” the fisurss being in a 
bold style like Michelansslo’s and foreshortensd in a masterly 
way. Further ons of the most beautiful and largest alphabets 
adorns this book, white lettérs on a plain sround surrounded 
by charmingly drawn soaring, squatting and tumblins little fi- 
sSuresl in which the master applies his art to foreshortenins ; 
besides fillings of noble foliage; other letters with little 
animal figures and the most beautiful scroll ornaments... Sinil- 
arly are treated the head bands with fanciful figures of every 
kind, with cornucopias, foliage and scroll work. 

That then the publications of the great architects of the 
time exhibit the sams artestic character in their production 
scarcely requires mention. So for the the General Rules of Ar- 
chitecture of J. Bullant, Paris, 1864. The title pase shows a 
Pich cartouch border with strongly animated fisurss, atlantes 
and caryatids,éenii and masks. Noble are the sreat.initials, 
white on plain sround with flowers and branches with leaves, 
among them some figures. Likewise are the head bands. with stri- 
kingly drawn figures and leaf ornaments; the whole of disting—- 
uished masnificence. Somewhat simpler, ee t likewise valuable 
is the folio volume of du Cercsau’s Architecture that appeared 

in 1559. The stately initials are white on plein sro- 

enamented by little fanciful fisures, drawn some- 

what dry and awkward and engraved in the same manner. Finer 4 
again is produced the work of Scrlio, that appeared in Lyons 
in 1560. The title pase has sarlands of fruits and cartouchss, 
the latter howaver very moderate, but animated by satyrs, masks 
and genii in the taste of the time. Very rich is the decoration 
by ornamental initials, among which are found three different 
alphabets. The first is very large and has black letters on a 
light ground, interspersed with flowers and buds. The second 
shows white letters on a dotted sround with very beautifal leaf 
scrolls in the character of the carly dnanessaces The third 
is somewhat smaller and places its black letters on a ground 
animated by Moorish foliage. In it is seen, how for the ornam- 
antation of the Letters are employed all motives of the orna- 
ment of the time. 

These few examples will suffice to indicate the character 
and the development of the French illustration of books. 

6. King Rene of Anjou. 


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28 
6. King Rene of Anjou. 

Among the earliest promoters of the Renaissance in France a 
place of honor is due to the “sgood”kins Rene. The personality 
of this art-loving prince, to all appsarance.a dilettante also 
in painting, is ths most vivid expression of the repeatedly 
crossing artistic currents of that time. For in his buildings 
yet entirely belongings to the middle ages, he inclines in pain- 
ting to the Flemish school af van Byck, while his works in re- 
lief betray an Italian origin. Of the entirely Cothic charact- 
er of his buildings the little Tarascon sivsu a view. The des- 
olate and poor place, that is only noticeable to the traveler 
for the gigantic masses of his old castle rising on, the bank 
of the Rhone, was once the residence city of the “sgood” kins 
Rene. But of the gay life.at his court friendly to the muses, 
the sloomy walls and towers of the castle built by him afford 
no conception. Nowhere de the windowless walls, lyins in the 
Sayest landscaps as if blind, afford a view of the nobility 
of the natusal surroundings, and the battlements of their 
threaténing machicolations complete the impression of a time, 


‘thet was still deeply buried in the feudalism of the middle 


ages with its lawlessness and love of war. First in the nar- 
row court of the buildins now servins as a prison is exprées— 
ged in the wide round-arched portico and the graceful wind- 
ing stairs the harmony of household comfort, and from the 
platform of the roof the sys uweeps enchanted over the love- 
ly landscape, through which flows the proud river afar. 

Gertainly his life was determined by his alternating fates? 
in apparently opposed tendenciss. Born at Angers in the year 
1409 as the second son of duke Louis of Anjou and-his wife 
Tolanths, daughter of king John of Arragon, he inherited from 
his grandfather the reversion of the throne of Naples, while 
by his wife Isabella, daughter of Charles I of Lorraine, he 
had claims on that duchy. When he sought to enforce them, he 
was taken prisoner, and with a brief intsrruption was interned 
in Dijon from 1481 to 1437. Douptless there at the magnificent 
Burgundian court he learned to know and to prize Flemish pain- 
ting, excelling all other contemporary art works of the tine 
by its astonishing truth to lifs. When he then betook himself 
to Naples in 1438 to 1442, in order to enflorce by arms his 


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27 
claims to the throne of Naples, he could not prevail against 
Alfonso of Arragon, and then returned to Provence, in order 
to devots himself to more congenial and peaceful endeavors in 
art and poetry until his death in 1480. 

In Italy where the early Renaissance was then in its first 
bioom, he had won a taste for its refined creations, and had 
also formed relations with the most famous humanists. Thus 
with F. Filelfo, A. Marcello, who sent him 4 translation of 
Strabo by Guarino of Verona, with Magsio and L. Vallaw,His 
connection with the Italian artists is evidenced first by sev- 
eral medals, and especially by that masgoificent example that 
in 1462 he caused to be made by Pictro of yilan (designated 
as the work of Peter of Milan).It shows on the obverse the . 
chatacteristically treated portrait of the sood king and his . 
wife Jean de Laval, on the reverse a ceremony filled by fisu- 
res with a building like a temple in the. backsround, where is 
ssen the king enthroned, perhaps in a court of judsment.. Bes- 
ides we find medals of the kins by F. Laurana, perhaps a rela- 
tive of the well known & Laurana, who in 1488 supervised the 
erection of ths palace of Urbino. Laurana also represented kins 
Louis XI of France, and we also find by him a medal of duke 
John of calabria, the son of king Rene. On the reverse of it 
is seen an antious circular temple surrounded by Corinthian 
columns, on whose domed roof stands the archansel Michael with 
spear and shield. Thus are also here works of the minor arts, 
in which the new style was first expressed; so was it at all 
times among the ancestors of the Grecks, that in the works of 
the goldsmith first learned to know oriental art, thus in the 

arly middle ages, when the Byzantine style penetrated into t 
he West by carved ivories, by manuscripts and the works of 
jencllers. The same Gaurana, who with his colleague Peter of 
Milan lived at the court of king Rene, then had to represent 
sven the court fool Triboulet with his fool’s truncheon on 
his shoulder on 4 medal, on the back of which was a crouching 
lion, but which rather resembles a poodle. 

More important for us is a medal by the same artist of the 
year 1466, which represents the scneschal of Provence, J de 

Cossa. This distinguished official is known to us namsly by t 
the tomb remaining unregarded by even French investigators, 


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23 

that we found to our great surprise in the cathedral of Taras- 
con. A few steps from the royal castle described above, that 
still bears the stamp of a Sloomy mediaeval fortress, rises 
as a no less important buildins of the Romanesque period this 
church promising little externally’ The more profitable is the 
interior. At the west end of the church ine descends to a lor- 
er church, that contains the tomb of 3. Martha, hishly venera- 
ted there. At the entrance to this crypt stands at the risht 
a masnificent tomb of the Renaissauce. An inscription in beau- 
tiful anciais informs us, that in the year 1476 king Rene cans- 
ed this tomb to be erected for his worthy and esteemed faithful 
servant J. de Cossa, who at the desire of the kins isft his na- 
tive land to follow him. Peacefully rests the noble form of the 
seneschal in prayer with folded hands on 4 simple sarcaphegus. 
His feet rest on a dos, symbol of fidelity, that elsewhere on 
mediasval monuments is less often siven to men thaf to women. 
Fine Corinthian pilasters are covered by sraceful ornaments and 
enclose the whols, above arise two genii with serlands of flow- 
ers, support the shisl of the knight, on which they sadly lean. 
The noble monument is entirely inspired by the refined spirit 
of the early Renaissance, and since it is indeed the earliest 
monument of the new style on French soil and extends back to 
a time, when scarcely a native artist already knew how to dom— 
inate the classical world of form, it must certainly be attrib- 
uted to an Italian. It is indesd too venturesome to denote Lau- 
rana as the author of this work. We are the more justified in 
this, since also seversl monuments on French soilare to be at- 
tributed to this artist. Thus before in the cathedral of Le 

s the tomb of Charles of Anjou, count of Mains, brother 
of kins Rene, that died in 1472. Hxecuted in black and white 
marbles, it shows on & Sarcophasus abn the noble forms of Ital- 
ian carly Renaissance,that truly classical treatment of the 
forn of the deceased lying there extended in armor, full of 
quict nobility, with hands crossed over each other, fest rest- 
ing against the helmet for tournaments, an image of deep slum- 
ber. Fully in the spirit of the Renaissance ara the nude senii, 
only clad in floating scarfs, that bear the inscriptions. We 
read: “Here is Charles, count of Maine, who died April 10,1472, 
Another work attributed to the same artist is an altar in the 


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29 
church S. Didier at Avignon, with a sreat relief of Christ 
bearing the cross. If this work actually belongs to the same 
master, then in the rude realism, the dry mode of expression, . 
the types and costumes, he has transferred to it the influence 
of the contemporary northern art. But characteristic for the 
Ttalians are ths buildings in the background with their fluted 
Doric and Corinthian orders of pilasters, between which open 
logsias filled with spectators. This architectures would scarc- 
sly have been brought into this condition by a French architect. 

We also elsewhere Find Rene as a promoter of the arts and v 
venerator of classical antiquity, In his art collection was 
sean a number of antique cameos, which he had optained from 
Rome, and with them were Venetian slasses, and among his pain— 
tings was found one, in which Paris, Venus and “other things” 
were represented. Sufficisntly a just title to assign a good 
king Rene a place among the promoters of the Renaissance. 

7. Intellectual tendency of Francis I. 

This mixture lends a special charm to the entirs epoch and 
comes to the highest development in the lons and splendid 
reign of Francis I (1515 - 1547). The king himself is the 
most complete expression of his time. Likewise he and his 
feelings were reoted in the world of the middle ases; a stat- 
ely bearing, knightly character, personally brave to rasheess, 
2 mighty hunter, who built hunting lodges everywhere in the 
wild forests, and also loved in hunting to risk his life bold- 
ly in the sport; no less to devote himssif to all knightly ex- 
ercises, particularly to the pleasure of the tournament. Even 
the inclination for court fools must we place to this account. 
But therewith in his richly arranged nature is no less strong- 
ly expressed the spirit of the new time. First of all stands 
his thirst for knowledge, his sense of learnings and literature, 
his opposition to the restricted papistry of the Sorbonns. Dis- 
tinguished learned men were invited into his country, he even 
sought to induce Hrasmus to prepare a place for free knowledge 
in opposition to the scholasticism of the university. His clear 
Spiritual perception allowed him in the beginning, before fan- 
atical excesses stopped him, made him consider the Reformation 
with sympathy, read Luther’s writings, and free Louis le Berq- 
uin, the most zealous of the raformers from an ecclesiasticla 


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30 
prison. A second time the power of the kins was unable to pro- 
tect the bold man, who was condemned by the Sorbonne and burnt 
on Place de Greve to the great enjoyment of the bisoted people 
of Paris. 

Tne king took an animated part in classical studies and the 
development of literature. Antiquarians and poets, learned men 
of all kinds, especially professors of the ancient lansuages 
were invited to his court by him, he gave them liberal. salaries, 
and what was more, personally took part in their labors. Since 
he was himself not strong in the ancient languages, he caused 
to be made translations of the classics, and thereby promoted 
in & thorough manner the culture of his people. Indeed his ex- 
ample first only affected the direct surroundings, while in 
the mass of the nation the mediaeval taste lous retained the 
supremacy also in literary matters. Yet the path was broken in 
the most influential place, and the favorable results could a 
not fail in future. The new spirit banished evermore the gloomy 
guperstition of the middle ages. The ink himself was a living 
example of this mixed tendency. WYithout hesitation he removed 
the silver srating from the tomb of S. Martin in Tours, that 
the bigoted Louis XI had given, and despite the objections of. 
the clergy, coined it into money. Another tims, he was séen in 
Paris to replace the figure of the Madonna in stone destroyed 
by riotous hands by one of massive silver, and at the Bead of 
his court under tae lead of the clergy in solemn procsssion he 
replaced it. 

Besides that earnest tendency of his spirit, there makes it- 
self felt the natural tendency of the king in his love of the 
gayer snjoyments of life. His court was the centre of all, wh- 
ich was magnificent, intellectual and prominent. Previously 
the world of ladies was scarcely allowed at the court, .and £ 
first the queen Anne of Brittany had brought ladies to the 
court in @ limited way. As Brantoms states, Francis I first 
gave the court its trues ornament, when he gathsred around hin- 
self the most beautiful and amBabis ladies in a sreat multi- 
tude. A court without ladies, said the gallant kins, is a year 
without a spring, a spring without roses, or Brantome adds, a 
sSarden without flowers, and according to the naive expression 
of the latter, is rather like that of an oriental satrap or 


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Turk than of a Christian king. yeantime every sort of intrigue 
entered with the world of ladies,and if we assume that only a 
twentieth part of the tales are truce, the royal court in the 
time of prancis I, to employ an expression of the same writer, 
"nas sufficiently corrupt.” In any case in the plan of the roy- 
al chateaus, with the numerous anterooms, the many concealed 
stairs and isolated living rooms, we find the reflection of 
this court life pernsated by love intrigues is recognized. Jo 
less do ths talss of Marsgarek of Savoy, sister of the king, 
give a picture of the wanton tone t8en prevailing. | 

Under the influence of such ladies the rule was developed of 
the love of the kins for magnificence in the highest degree. 

He himself adhered to a rich dress with costly ornaments, as 
the portraits of the time show him to us: and it is character- 
istic, thas even in the subordénate matter of external appear- 
ance, in short clipped hair and well cared for full beard, the 
king followed the new time and the [talian fashion, while the 
citizens and the parlament in old sobriety long held to the 
earlier costumes, even the hair covering half the forehead and — 
with smooth chin, so that in this the people sharply differed 
from the court. It is characteristic, since P. Lescot was rej— 
acted as a canon of Notre Dams by the chapter on account of his 
beard, and an earnest consideration by the entire chapter was 
required to admit him with a beard, since he proved that he 
must wear it on account of his position at the court. - 

Noblest appear to us the love of splendor of the king in his 
artistic undertakings, opposed to the numerous chateaus built 
by him and their costly furnishings. The bsautiful hangings, 
that Brantome praises as masterpieces of Flemish art, gave van- 
ished with so many others, but mucno remains and will be consid- 
ered later. From B. Cellini’s autobricgkaphy, how manysided was 
the endeavor of the king to surround himself with luxury enno- 
bled artistically. Not merely the orders for costly furniture 
and services belong here, the golden salt dish, the silver va- 
ses and the like; not merely the colossal fountains intended 
for Fontainebleau, but even the stamps for the coins of his 
kingdom allowed the king to make new inventions by means of 
B. Gellini. But most astonishins are the 12 colossal silver 
statues of sods and goddesses, that were to be placed as.cand- 


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candlesticks around the royal table. What joy had the king in 
his artistic undertakings, we sss among other things in a rep- 
ort of the English ambassador Wallop of Nov. 17, 1540, to Hen- 
ry VIII. He tells how the king #asitold of the English royal 
residences at Windsor, Hampton Court and Richmond, and then 
made ths remark, that he had heard that especially on the ceil- 
ings was used very much sold, while he preferred costly woods 
for his ceilings and only permitted a little gold to be used; 
he held this to be both richer and more durable. The. king then 
led the ambassador through the chateau of ponteainsbleau, showed 
him the rooms with their magnificent furnitures, the sleeping 
chamber with its costly wall tapestries, whose material the 
ambassador must test by handling, ascending 2 bench by the aid 
of the king, but first of all the great gallery, where the no- 
ble carved wooden ceilins and the antique statues placed betw- 
een the windows was a sreat surprise. If finally we add there- 
to, that the flourishing condition of the nation, promoted by 
the intelligent administration of the king, who in spite of 
his expenditures left to his successor a full treasury and well 
arranged finances, favored this fresh aspiration, which the en- 
tire epoch allowed tc appear in an amiable light. 
8. Revolution in the literature. ¥ 

The influence of the classical authors on French literature 
makes itself notable in an increasing desgree during the reign 
of Prancis I. For these works to be proper, one, must conceive 
into what tasteless frivolities in rhymes and words French pos- 
try had previously fallen. The artificial and bad rhyming of 
single, double and evan triple leonine verses, the acrostics, 
the final rhymes repeated as echos, the poems with sonorous 
words begin with the same letter, in brief all these sports 
with form and meaning lost their importance. On the contrary 
arose such poets as Marot, indeed less fortunate in imitating 
Ovid and Propertius, naive and charmins, say and witty in his 
smaller poems, the tales, madriseals and spisrams. Likewise by 
Prancis I we still posses a number of poems full of true. inv- 
ention and natural expressions The literary activity of his 
sister has already been considered. Less attractive is St. 
Gelais,“the French Ovid,” whose stretched verses breathe that 
frisid nature, in which the French later found their classical 


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style. It is remarkable with what zeal the poets of that time 
themselves sought to imitate the antique verss measures, when 
the made dactylic and spondaic verses, alcaic and sapphic odes. 
Unfortunate attempts, contrary to the spirit of the French lan- 
guage and yet with an influence on a smoother treatment of it. 
Other posts imitate in Latin the ancients like Macrin, “the 
modern Horace,” still without favorable results. bikewise the. 
court turned to the domain of the drama, and the circle conn- 
ected with it rejected the dry mediaeval farces and mysteries, 
to which the people still adhered with resret. Lazare de Baif 
translated the Blectra of Sophocles and the Hecuba of Kuripi- 
des, vette founding the French theatre. But the celebrated 
post of that time is the stiff and cold Ronsard, by whose in- 
sipid hymns and odes, watery sonnets and madrigals, however 
contemporaries were charmed to the highest desree. Brantone, 
who Sives him splendid praise, esteems the earnest and skil- 
ful sentences of his works, a proof how quickly the French 
passed to that hollow rhetorical pathos, that dominates the c 
character of their classical poetry. 

With other poets the poetry attains deeper merit. The Husue- 
not Du Bartas, the patriarch of Protestant postry, as termed 
by Ranke, gives uS in his “Week of Creation” a poem of religi- 
ous meaning, that he seizes with such warmth, that we must term 
him the precursor of Milton. But the intellecually animated 
character of the French nation is most sharply expressed in M. 
Montaisns, the Jedi te antirely free represantative of the mod- 
ern spirit. Besides oct acts the desp learnings of Scaliger, 
Maret and si a as well as of both Htiennes, those most lear- 
ned printers of books. Likewise jurisprudence and medicine were 
renewed by reference to the ancients, and even the matter of 
Ghurch Reformation wins ground everywhere in spite of the fan- 
atical persecutions of the Sorbonne. put since in the nation 
besides all these innovations , adherence to the ancients ever 
struck its roots, as proved by the continually repeated editi- 
ons of the mediaeval poems of Amadis of Gaul, Lancelot of ths 
Lake, Tristan, Huon of Bordeaux, Godfrey of Bouillon, Don Flo- 
res of Greece and others, that still in the seventies and eigh- 
ties of the cantury were repeatedly made, and issued by the 
printers of Paris and of Lyons. And nacarly just as long shall 


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34 
we find, that the reminiscences of Gothic architecture remain 
in forces. 
9. Rabelais and the Abbey of the Thelémites. 

The most prominent representative of two views of the world, 
which makes this epoch so attractive as a transition epoch, is 
Master F. Rabelais. Irresular in form, fantastically complica- 
ted, as if it were entiredy spun from mediaeval poctry, in its 
Srotesque overloaded forms and stories surpassins the edventu- 
res of knightly romance in dry persiflase, he belonss by his 
biting satire, his bold humor, entirely to the modern spirit. 
How he scourges the ignorance and zealotism of the Papacy, the 
depravity of the monks, the arrogant pretensions of the learn- 
ed, how he tolds all follies of the time up before the mirror! 
His book is like a mediacval building, twisted anf full of mys- 
tery, overloaded by burlesque caricatures, bristling with ail 
sorts of points and excrescences, but attractive just on ace 
ount of this picturesque irregularity, indeed even fascinating, 
Since this entirs infinitely rich composition owes its execut- 
ion to the satirical mockery of a superior intellect. 

But to us he has a special importance by the description of 
that poetical abbey of the Thelémites, in which is completely 
expressed the architectural idsal of the spoch of Francis I. 

We sive the passage according to the translation of Regis. “The 
formof the building was hexagonal, so shaped that a thick ro- 
und tower came to stand at gach angie, averasins 60 paces in 
diameter, and all were alike in size and perimeter. On the side 
toward midnight ran ths river hoireon whose bank stood one of 
the towers. 312 paces was the distance from one tower to anoth- 
er: all were built to six stories, including the cellar in the 
ground. The first story was vaulted in oval form, the others 
being covered by Flanders gypsum in the form of a cloister va- 
ult. The roof of line slates with lead ridses full of little 
figures of animals and of men, well arranged and sildsd, as 
also the rain leaders that sprung from the walls between the 
window arches, painted diagonally with sold and azure down to 
the ground level, where they ran into larse pipes, that ran 
beneath the building and ended in the river. 

The building itself was a thousand times more masnificent 
than either Bonnivset, Ghambord or even Chantilly, for -there 


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35 
were therein 9,332 apartments, each furnished with rear chamb- 
er, closet, oratory, wardrobe, and exit into a sreat hall. Bet- 
ween each tower in the middle of the wall of that building was 
a winding stairway broken through the house, its steps parily 
of porphyry, partly of Numidian stone, and partly serpentine. 

% every landing were two antique pl throush which came 
the daylight, and through it into the open room of like dimen- 
sions as the stairway, then rose farther to above the roof, 
Since it ended in a pavilion in the light. On all sides one 
went from this winding stairs into a great hail, and from this 
hall into the apartments and rooms. At the middle was a wonder- 
ful winding stairway, to which one passed from the exterior 
through an arch six fathoms wide, and of such dimensions and — 
proportions, that six riders with spears in rest could ride 
up it to the roof of the entire buildins. Between the towers 
Anatole and Mesembrine were beautiful spacious galleries pain- 
ted with real ancient deeds of heros, tales and descriptions 
of the earth.” 

“Tn the midst of the court was a noble fountain of beautiful 
alabaster stone; on it stood the threes Graces with cornucopias 
emitting water from their breasts, cars, mouths, syes and other 
openings of the body. The internal construction of the building 

ver the court stood on massive piers of chalcedony and porpahy- 
ry with beautiful antique arches, within which were beautiful 
lons and spacious salleries, ornamented by shields, with horns 
of stags, rhinoceros, unicorn, hippopotamus, elephant’s teeth 
and other curiosities. At the river side was a beautiful pleas- 
ure garden, and in its midstwas placed the pleasing labyrinth. 
In the middle between two other towers were placed the ball 
play and the great ball. Opposite the tower Kryere was. the fru- 
it orchard full or fruit trees set in quincunx form; behind & 

theses was the great enclosure, swarming with a11 kinds of wild 
animals. All chambers, halis and apartments were differently 
upholstered according to the season of the year, the floors 
all being covered by green cloth, the beds by embroidery.” 

Who does not see at once, that the peculiarities of the most 
famous chateaus of that time hover before the poet? The wind- 
ing stairs that lead to the roof and are connected with sreat 
halls, recall Chambord, the winding stairways on which one can 
ride up to the deck we find at Amboise; the Salleriss adorned 


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by historical paintings are taken from Fontainebleau. The oval 
vaults with the raised keystones, the antique arches with the 
arcades and the fountains in the court, the round towers and 
the distribution of the living rooms, the lead decoration of 
the ridges of the roof and even the leaders for water are mat 

srs that reappear on all Prench chateaus of that epoch. The 
porphyry, marble and other costly stonss were brought from the 
princely buildings of Italy, as proved by more than one example, 
but expressly by the buildings of qharles VIII and those of 
George of Amboise. A more complete idea of the French ruler’s 
chateau of the time could not be siven. 

10. Francis I and the artists. 

As everywhere in life, so especially in art the king assumes 
the initiative. His mind being animated by ths ideas of the new 
tine, his cheerful perceptions and love of splendor must expr-— 
ess themselves in the most vivid manner in the direct promotion 
of the formative arts. Were there something romantic in hin, 
that had no influence on his artistic inclinations? He was so 
little enthusiastic for the architecture of the middle ages, 
that he caused the old Louvre to be torn down in order to ob- 
taia: space for the new building, in spite of the magnificent 
sallery and stairwaw from the tims of Charles V, which was 
therefore devoted to ruin. On the other hand the king was ent- 
irely filled with the nobility of Italian art. How many of the 
most famous masters he invited into his country, or if thig 
wascimpossible,yhe ordered art works from them. At the. apex 
stood Lionardo da Vinci, whom he esteemed not merely as.4@ sre— 
at artist, but also as a distinguished man, on account of his 
rsatility and deep knowledge. The collection of the Louvre 

ll contains some of the rare paintinss of the sreat master, 
that cams from the collection of Francis I, amons them the por- 
trait of Mona Lisa, for which the king paéd 12,000 livres, an 
axtraordinary sum for that time. Likewise he invited Andrea del 
Sarto, who foolishly lost his splendid position, since he mis- 
used the confidence of the king. For the decoration of his cha- 
teau of Fontainebleau he had Rosso of Florence and‘ Primaticeio 
cons. He sent the latter to Italy with a considerable sum, who 
brought no less than 125 antique works in marble as well as 
casts from Trajan’s column, of ths Laocoon, Venus, Ariadne, a 


(Ole ech te 


La 
ie 


‘thers won dedt .6s sotiae nose’: aed%0 bas 
ito : canon et bad ete-at: sbeeldentednc® 3 
snd to. dagoo ead nt boote gnol tr testa edt bas 
\(Yo-eman eas bevitsoes at . nox fsideantasact 
| Boyolgns o2Ow olooisas 


Pg | 5 ERE es pia 
Ppa ‘yea doldy to vss isdn i pieit@s neitie¢]I to wsdmas 


Ne 


ae yielish oa3 See woorlfsd 
-: saadonng cz rod wood bait oi 


(oa lae seen 4 


ine 
wi 


BIAVODOS bois! 


@ eseocen tn 


sviveroosh y!cxsmleyote soos teven text) eotsoesg 
Se antteresit rit odd bas. erndoetidors 3 


37 

and other famous antiques, that wers all cast in bronze and p 
placed in Fontainebleau. He also had the horse of M. Aurelius 
cast, and the plaster cast lons stood in the court of the cha- 
teau of fontainebleau, from which this received the name of 
“sourt of the white horse”. Under Primaticcio were employed a 
number of Italian artists in Fontainebleau, of which may be n 
named N. d. Abbate, who decorated the ballroom and the sallery 
of Francis I by mural paintings. The king knew how to purchase 

several excellent works of Raphasl, amond them the sreat S. Mi- 
ates and the Madonna of francis I, which as we know from doc- 
uments, was sent to the king in the year 1518 as a sift from 
the duke of Urbino. The king had himself painted by Titian, p 
probably from a medal; it is a magnificent profile portrait to 
be seen in the Louvre. Most clearly does B. Cellini describe 
ntercourse of the king with his artists. He gave them th- 
sir own dwelling as a workshop, by repeated visits took account 
of their progress, encouraged then by appreciation and praise 
and paid them with princely munificence. So he gave Primaticcio 
the abbsy of S. Martin at Troyes» he had also destined an abbey 
for Cellini. 

It is characteristic that among this host of artists to which 
still others were added, no architect is named. In the survey 
of the buildings we shall see, that chiefly French architects 
erected the kins’s chateaus. On the contrary no artists were 
in Prence to whom could have bcen entrusted the internal deco- 
ration of the buildings in the style of the new time by stuccos, 
sculptubes and paintings. We indeed found already in the second 
half of the 15 th century the distinguished painter of niniata— 
res, J. Fouquet, in whose pictures already appear echos of the 
Renaissance, architectural backgrounds with antique buildings; 
indeed in the 16 th century the two Clouets, father and Son, 
were highly esteemed and much employed at the French court; we 
also learn from the building accounts of paillon to know numer- 
ous other native masters, to whom was confided the ornamentat- 
ion of the apartments; but those more important masters are 
evidently only skilled in works at small scale, particularly 
portraits, and these latter doubtless belong to @ rather manu- 
al practices, that never rose above merely decorative painting 
of architecture and the Sildins and painting of sculpturas, en- 


“eo 
ae 


al ie 


i ate ysyadag 


i, 


sien 


sas tated 


ecioottes 


; aig one 


: sei =n80 ote ylletosc 


a My 


om oad aT eng 


og 
G: 


ont ts 
tient 


mnie oh 


on edd =633 


dain 9 siodt 


oe 
a \ 


cas th emt 


at 


7 
ls @ 


* 
a4 
c 
* ow oe 
pow 


4 


IGVSuCE FH: 


me be LOR ‘ on 
te mh godd- ak oh dos 


38 
entirely in the style of thes middle ases. Thus we likewise find 
in Gaillon an Italian, A. d. Solario, employed for the painti- 
ngs of higher rank, and for the same part of the equipment with 
paintings and stuccos, we see everywhere and especially at Cha- 
teau Madrid and at Fontaniebleau, Italian artists are brought 
in. First in the year 1541, it is stated that Serli was called 
for the rebuildins of the Louvre, who was busy at S$. Germain 
and for @ longer time at Fontainebleau; but we cannot provs. any 
vestiges of his creations. 

The love of the king for building, after so many destructions 
of many of the finest works of the French Renaissance, is rath- 
er known by the drawings of du Cerceau, who states the evidence 
for ths king: “Ths kins Francis I was marvellously devoted to 
the buildings.” Brantome speaks with still sreater surprise of 
the magnificence of his buildings and their rich furnishings, 
that make the greater impression, if then are compared with the 
dryness of the ornamentation, that was not unusual in tke royal 
chateaus in the time of Gharles VIII. Finally if we add thereto, 
that in the year 1536 by Genoese manufactors was laid the foun- 
dation of the silk industry of Lyons, and that at the sams time 
the art of printin;: books rose higher, which in intellectual 
as well as in material relations was of Sreat importance, we 
have now briefly alluded to the artistic endeavors of this ac- 
tive epoch. 

Since the Renaissance in France proceeded from the princes, 
so the architecturs there also bears the stamp of their wishes 
and minds. For they not merely advanced beyond their people in 
comprehending generally the new ideas; also in details, plan 
and execution of the buildings, their views and customs of life 
must be determinative. This fixes the peculiar character of the 
French Renaissance. In Italy the new art proceeded from the peo- 
ple, was created by srsat masters with an ;inspired study of 
the antique, and represents the entire life of the nation in 
an ideal expression, It was introduced in France by the sover— 
eign will of the princes. But however many [talian artists were 
called into the country, still until the last time of the life 
of Prancis I the Renaissance is entirely orisinal and French. 
We are able to point out no work, that could be attributed to 
Italian architects, and it is then that the Italians had to 


i ras 
at os 


é & 
i ¥ 
oer e, 
_. BSoW at 


1% fed 


| a : 
* Sick ¢ 


% 


na rT al 
jw BA eo OS 


PMR Bo ee 
Y yay he ty a 
Dm | ’ s 


: 389 

adapt themselves to the French mode, even to the denial of th- 
eir own. This may cartainly have occurred. fat least B. Cellini 
tells how he made the model for a portal of the chateau of Fon- 
teaineblean, whereby he tried to alter the cxisting arrangement 
as little as possible. He says,“it was after their Brench style, 
éraat and somewhat dwarfed, its proportions little more than 
square, above that being a semicircle, depressed like the han- 
die of a basket.” Likewise we find in Serlio’s Book Vi a number 
of fireplaces, chimney caps, sketches for facades with high 
roofs, which as hse himself states are suited to the French sty- 
le by the crossbars in the windows, winding stairs, mansards 
and the form of the chimney caps. In any case therefore the 
influence of the national customs, opinions and requirements 
was so strong, that sven the proudest Italian artists. must sub- 
mit to them, without being ables to change themselves in essen- 
Sial matters. With the exception of the internal decoration of 
which we haves already spoken, and for which the [talians were 
preferably called, we must assume that the buildings ofthis 
entire epoch were designed and executed by French masters. Al- 
so proofs are not wanting that French architects had quite ear- 
ly made themselves acquainted with the architectural style. In 
the accounts of chateau Gaillon appears a master P. Delorme, 
of whom it is said, that he understood how to “do the antigue 
and after the French fashion”. Indeed these ctever artists 
were yet capable superintendents of works after the mediaeval 
manner, who did not feel themselves to be men of high rank Like 
the arrogant Italians. This is not merely shown by their execu- 
ted work, but also the fact, that no historian has preserved 
their names, and that only recent researches have succeeded in 
obtaining these from the yellowed documents of their activities. 
Lhikewise there was not lacking among contemporaries a strong 
consciousness of artistic activity, and Charles de S$. Marthe 
says in his advice to poets, certainly not without poetic ex- 
adseratioa:- o% 

“what has Italy or Germany, 

Greece, Scotland, England or $pain, 

Yore than France? Is not this the property of all? 

Have they more means for the arts? 


$6 much that #e8cmust yield to then, 
That we shall soon surpass then.” 


| 43 


atel seodt rot" 


reds 


Per a. 


ast abe sinege 


a oe 


40 
But their works best testify for those plain old Prench mas- 
ters, and we shall now consider them 
li. Foandations of the Brench Pametadhuas. 
Ti the Italian Renaissance took up the problem of creating 
& clear and artistic expression of their entire life, private 
and public, secular and religious, the like cannot be said of 
the French architecture of this epoch. It serves almost exclu— 
Sively secular interests, and is principally created for the 
Splendid aaah of elevated life. The cities, citizens 
and people generally, still lons and firmly adhered to the tra- 
ditions of the older art, and the new architectural style first 
penstrated amons them in a perceptible manner in the time of 
Henry II. But nominally all church architecture continues unch- 
anged until the middle of the 16 th century in the Gothic style, 
that indsed soon adopts some antique details, but in form of 
plan and construction remains faithful to mediaeval traditions. 
It is otherwise with the architecture of the chateau. This 
indeed proceeds from the sround form of the feudal castle of 
the Gothic period, retains in plan and arransement as in the 
general appearance the mediasval form, yet a substantially new 
sense. That form henceforth becomes a mask, which conceals an 
entirely changed interior. Already since the beginnins of the 
15 th century, men had found the old castles uncomfortable, T 
The massivs towers, the narrow courts, the little openings. for 
light, the entire character calculated merely for defense was 
oppressive and heavy in a cheerful time, whose tendency was 
devoted to say enjoyment. Moreover the fortifications became 
antenable by the introduction of heavy cannon and by the supr- 
emacy of the royal power. But the appearance of the fendal cas- 
tle was desirably retained still, since traditional advantases 
wers intimately connscted therewith. Furthermore many customs 
of sia that had found thsir expression in the cartles, wers 
inherited in the new tims, that men could not sive them up. 
the refore the numerous concealed passases and stairs, the lofty 
roofs with a forest of chimneys, the attic story with windows 
adorned by gables, the independent roofs of the s¢parate parts 
of the buildings, and before all the Sreat round towers, and 
finally the moats with walls and drawbridges. The mediaeval 
tradition so predominates in Chambord, that even the keep is 


tbbis. ‘ett nk begolevsb «. tan tives por 
Aegean se .etipod owt bed onats 
ita co aang wae heqnory 272 
| onod Yo Panes) 


ner 


Maes BSE eos eg 
bas adoeesitdad 


ng bua 


rr | 
ddiw. enobain de0%h) oviccs: 


. Wy 


weabat gil wa _ 
es $92q.. enoe | 


“bpntboner Tae to. Weiv e0: 
ia bas geste? 


akan” Led G) 
govezeg 


44 
in the plan of the building. In the general design it remains 
in the arrangement, as it was developed in the middle ages; 
each independent chateau had two courts, an external one (low- 
er court) about which are grouped the stables ard farm buildi- 
ngs, and an inner ons (court of honor) surrounded by the living 
apartments of the nobles and the rooms for service. A moat as 
well as walls with towers completely enclose the entire plan 
as in the feudal period. A clear example is presented by the 
chateau of Bury given in Fis. 18. Over a drawbridsge A flanked 
by two towers, oné passes into the main court F, around which 
is the residence. At H is a long gallery, the show part of the 
Prench chateaus of that epoch. A double flight of steps deads 
down into the master’s sarden &, enclosed by a wall with towers, 
having a small chapel at G. A vegetable garden D with fruit t 
trees, trellises and a devecot K in the form of a tower inclo- 
ses it. Before this lis the lower court © with its separate 
entrance at B, that likewise forms a drawbridge in the mediae— 
val manner. 

But all these forms have a new meaning. The towers formerly 
servings only for defense with few openings, battlements and 
machicolations, become living rooms, receivs sreat windows with 
views of the landscape. Generally whers mon formerly withdrew 
into them, now the extsrior of the living rooms preferably pro- 
jects in order to becomes pleasant by the view of surrounding 
nature. For not merely the stream flowing by, forest and meadow 
and a series of hills invite to the view; likewise art contrib- 
ates to beautifying the vicinity by gardens, flower beds, ador- 
ned by terraces, perdgolas and fountains, which then surround 
the seat of the noble, and a stately park forms the transmbion 
to forest and field. While formerly the castle isolated itself 
morosely from the outside, it now opens as sayly inviting. 

Thus is formed every detail in the mediaeval basis in the 
cow sense. The entrance formerly consisted in a sreat sateway 
with @ little side doorway for persons on foot, now becomes a 
masnificent lofty portal with an antique enclosure. Instead of 
the crowning battlements is indeed seen an open gallery of va- 
ricd design, beneath it an arched frieze with shells in the 
panels, 23 reminiscence of the Romanesque crowning cornice (Fis. 
14). The windows of the roof story (dormers) retain their gothéc 


qs 


fatnesa: cy eee ieee 

ws er em ie ree! yay OO are F 

fest siete telal betelens 
+ i 


pveig: pa karevib! beta gt owe ft rer te gs 
iia noiteiss offi sac x te | | 
BB (yLiztne dd 


- 


" mt yom 
on pall 
“ pegoiaecos 


Bees 52 


. “dest fevestbe 
sia eigen ont 38: 
As fo efihia- ees mot 
ete atic 
ent ‘eeatodre “i 
. atate biox, ed 


A re oa * = 1° Ta a oe FN Te 
{ ' 1 % ae NA Ad 
: : ry . ; 

be , 1 ay i. 


42 , 

elevation with piers, flying buttresses and ornamental caps, 4 
but the forms are sporbively translated into antique elements. 
(Pigs.114, 15). Further views of the animated diversity preva- 
iliag in these favorsetse forms are given by the illustrations 
?n 21 (Blois), 32 (chenonceaux), 33 (Bury), 36 (Chantilly), 38 
(Azay-le-Rideau). The windows generally still retain for a long 
time the stone cross bars, of the Gothic period, and also in 
their enclosure appears the fine srooves and tracery of the 
iddle ages. In the Seneral plan may be also asually restricted 
by the irresularitn of the older parks, that were utiliged as 
2t 3. Germain, Gaillon, Fontainebleau and many other places. 
Tt is seen from thiu, how little this time allowed to prevail 
% Symmetrical plan as an indispensable basal rsquirsment. But 
where they could add freely, men strove as much as possible 
for a regular form of plan, that in details was stili not so 
strictly connected. Particularly all the stairways by which an 
element of picturesaue arrangement and great charm was freely 
introduced in the buildi ings. They were not included in the ar- 
rangement of the interior in Italy, but in the mediaeval fash- 
ion were placed in a round nr polygonal tower at the angle of 
the principal court, or that projected from the middle of a 
court facade. These stairways are always winding, sometimes 
being ramps without steps and ascending as at Amboise. The 
French language at that time did not know the word stair (es- 
calier), but always employed the word screw (vis). The. pkinci- 
pal flight often became a grand piece of magnificence of cons= 
traction and ornament, as at Chambord, where it is built with 
double flights, so that those ascending and descending need not 
mest. This is also s tradition of the middle ases. The upper 
termination then vaahale forms a pavilion or an open lantern. 
In other examples, as in Gaillon and Blois (Fis. 29) the stair- 
way consists of a system of piers and arches, opened by airy 
perforations at the sides. 

Hith this strivins for sgayer masnificence is connected the 
broader plan of the courts, that further frequently cantain ar- 
cades in the lower (fis. 16) as well as in the upper stories, 
yet as a rule only extending on one or two, scarcely ever on 
the sides. The separate wings of the building always have but 
one room in width, and the rooms lie in a single series beside 


/ " \ i ” y y aid } : 2 
tea) PM pee, eee Rad . 
eo'to a iil atee% ya Bert hooey ae dean? .ibndo fons 
“eit to sheik find ‘edt doe’. hi va 8. 
8 do edt seyaniiate ‘BHotess rte wne i] 
te gue eraito bos, estou’ 2d ,biobex 
re : PRIA 5 ON Ai 
a, oe O Jecemsr VET aos 


i) 


iat ae 


‘setts! 
yea sheds 


Baia iehsco, 58 


- ‘den 
eae gon Bas! 
Wiorsben-ca:t eel « 
nile: : be! eseva S42 ever 


eet 22 1 yoigaaot Bows | 


n 


stuone fe ett - erode 
tat to selgtontzg © Md | 
H e0cke: ege1g: esi oe boxed ed: ‘idauoe 


43 

each other. Thereby was required a sreater number of corridors 
and separate stairs, and in fact the buildings of this epoch 
are characterized by their numerous stairways. The chateaus 
of Francis I, like Chambord, Madrid, La Muette and others are 
mostly divided into a more or less great number of independent 
lodgings, each consisting of a living room, sleeping cabinet, 
wardrobe and privy, externally with its own entrance and sepa- 
rate stairs. For the common society is then in seach story arr- 
anged ¢ bards hall, or even several halls with a central plan 

f possible. The piece of magnificence of the more important 


gth, strikingly similar in proportions to the halls of 
nt Assyrian palaces, indeed being a remiscence of the 
at assembly halls of mediaeval castles. However the latter 
were always in several aisles, and thereby with their numerous 
vaults on slinder columns and the high arched windows adorned 
by painted Slass, made an impression entirely different from 
these galleries with their cellings gleaming in sold and colors, 
their paintings and extremely rich stucco decorations, The ce- 
ilings of the rooms mostly consisted of a rich wooden coffered 
construction (fig. 17); however splendid stucco ceilings were 
soon introduced for the state rooms by the Italian artists. $. 
Still the French Renaissance does not have the aversion of the 
Ttalian for the cross vault; it rather likes to employ it for 
staircases, halls, chapels and where required elsewhere, indesd 
with the mediasval section of ribs, corbels, keystones, even 
free pendants. But the form of the arch is no longer Gothic, 

t is mostly a depressed arch like the style of a basket 
handle, as employed already in the latest Gothic epoch. (Fig. 
18). The regular round arch gradually opens its way. 

Thus also in the general desisn, the high roofs with their 
windows and chimneys, towers and winding stairs are retained 
by the very picturesque design of the middle ages. To the an- 
tique belongs only the slight covering by certain forms of de- 
tails, the enclosure of windows end portals, the subdivision 
of the surfaces of walls by pilasters or half columns, ths 
treatment of the cornices and other members by the elements of 
antiaue architecture. But while in Italy the principles of this 
world of form are sought, to be fixed in clear proportions, t 


} } it 4 By, 
Jose rs emehang ‘2 ei 


ebostxe ,beyolqme 08 , evede 
| wiphatn ebiecd yicetleses 
pot sbaesol a 
ee ite gifeven cele 
‘ -s0qu, edd yilenensd re 
, nexe wis? I seggxr to 


Pin deentes etd sade 
a. ewode gait 


fe YR 


) Bite tadse beseves. 
F ekrod te 
Seca 

Tealesaent 


he aes 


ee teon edt titiv 


re’: 
q 


vc 
¥ 


pri 


eek Wd ee RA 


‘ 
7 ae ar 
‘ 
* pum Ke a 


fi use ae 


‘St 
he _— 


44 

there here prevails no definite arrangement,and pilasters of 
of the most varied dimensions are employed, extended without 
limit and stunted like dwarfs, carelessly beside each other. 
As a rule the pilasters are paneled with the logengs forms 
at the middle and ends liked in upper Italy, also usually orn- 
anented by its leaf and arabesque ornament. Gensrally the spor- 
tive and ornament-lovins early Renaissance of upper Italy exer- 
ted far more influence ion French architecture than the earnest 
and massive architectural style of Tuscany. That shows itself 
particularly in the lavisk abundance owhich covered other parts 
of the architecture on French buildings of the epoch of Louis 
XII and of Francis I, particularly the friezes with ornamentsa 
Thess often have a refinemsat in drawing, a charm of invention, 
a delicacy of execution, that appears to rank with the most b 
beautifal that Venice and Florence produced in decorative works. 
An object of preference by architects of this splendid period 
was the capitals of pilasters and half columns, which they dis- 
tribute on their facades. They assume 2 free form Like the Cor- 
inthian of the well known idea of ths capital of the Italian 
sarly Renaissance, which consists of a row of acanthus leaves, 
from which volutes, dolphins or other forms of figures project 
to support the abacus. But French art is even more full of in- 
adination, more varied in its inventions, and partly on account 
of mediaeval opinions and endless divessity of the same ground 
motive is more deeply imbedded in the race, partly since they 
feel less restricted to the motives of the antiques. We give 
in Pig. 19 as svidence a capital from Fontainebleau with. which 
can be comparsd the capital in Fig. 71. 

fhe interiors of these masnificent buildings receive an art- 
istic treatment, in which likewise the middle ages at first 
strongly appsar. Vaults and wooden ceilings slecam in sold and 
agare, and it is astonishing, for example to see from the acc— 
ounts of Gaillon what extensive use was made of gilding. Also 
the works of sculpture, after the Italian model now executed 
in marble and richly silded. No less shinins in the little win- 
dow panes are the works of glass painters in pictures, arms, 
mottos and emblems of manifold kinds, and we find these not 
only in the still half Gothic Gaillon, but even yet in Font- 
sinebleau enters the decidedly new tendency. What then concerns 


Eag 2 our ‘ontt > 2S r | 
aes Ene Reicks fats J Hover 


isstaco 


BvD et UH 


fon * rite es 
SSigmexrS 82 


B oes Senwonece de 


: as. 
Pipa! ‘eelquex? Dag 
J Tiaue moist SOocx: 


a : vo aleqgado 406 
4 ibgvose inde 
a eds tad 

fig nit ei catesns 
" comieulbaag 


+tascoed mebLox 


on "e049 fenh x 


i or ae 
ie 
. fh 


ie 


fe j nae 3 $uo ae thts 9 
\ldd-veti soe 

yensntesd ya? ‘See 

dhekigqae sesad: ‘al 


oe eR 
a Sas. to medtupdtas 
aM ae epi zo 


ve 


‘ 
‘ 
: 
4 " 
G 5 nr ps " 
.e oe id Ge 


Recaaters . “an SAY 
rar 


Let 


to 8 


A5 

the form of the ceilings, these show thus in staircases, vest- 
ibules, corridors and chapels for a long time the Gothic rib- 
bed vaults, often with splendid carved, painted and silded pen- 
dent keystones, as in the staircase of chateau Nantouillet, in 
the church at Tillieres, and in many other examples (Fis. 18). 
Ths living rooms, chambers, halls and galleries on the contrary 
receive wooden ceilings with splendid cofferins and slesgant re- 
lisfs, such as are surprising in the chateaus of Ghenoncsux and 
of Beauregard, also first of all in Fontainebleau. Hxamples of 
such ceilings of marked refinement and taste and execution are 
given in Pig. 17. Likewise on the portaly, grilles of chapels, 
and finally on the panelings of walls is employed the striking- 
ly skilful wood carving derived from the middle ages, but the 
style of these works shows throughout instead of the late Goth- 
ic the noble and harmonious art style of the Renaissance. Pin- 
ally there came from Italy the inlaid work (intarsia), examples 
of which with unsurpassable charm are preserved, as in the chat- 
eau Ancy-le-Franc, or there are found splendid solden decorat— - 
ions in the most beautiful patterns, such as chateau Anst pos— 
sessed. 

On the walls prevails in the first period until about the m 
middle of the 16 th century the wood carving, but pesides it 
is extensively used the decoration by sculptured tapestries, 
such as the adjacent Flanders ard especially Arras supplied 
in excellent works. Brantome speaks with enthusiasm of the no- 
ble hangings, that adorned the chateaus of Francis I. In Gail- 
lon were no less than 20 tapestry workers and embroiderers bus- 
ied with the furnishings of the chateau. Genoa, Milan, Florence 
and Tours furnished the magnificent materials, the srsen, blue, 
cramoisy red velvets, white damasks, sreen taffetas, which were 
embroidered with arms, monograms and emblems in colors, gold 
and silver. Not merely the walls, but also the furniture, -arm- 
chairs, beds, canopies, curtains, exhibited throughout such 
costly fabrics. @specially magnificent were the fireplaces, t 
that were entirely constructed in the style of the Renaissance, 
flanked by pilasters or columns, the frieze with arabesques, 
above it being a panel with a painting or a work in relief, all 
sxecuted in marble (Fis. 20). Finally if we add thereto, that 
the floors in halls, chapels, galleries and even in the courts 


we 
: 


| f Lae ute PATI ty PL) wel F beh) a 
so: date W902 ,eeite: Svs boetevco ‘asew Baldor at oad 
bas oldettas ‘boteleanenne itime edd ta4d. .exetesa arise 
‘ane \acniecanbhia edto Sue volliay ) 

‘3p. eoxege 


pele huia Sockeenss esnoments 
ig aie ven oy 


Tonk ag 


, 
wa cts porate mF 
UA age de *% 


i ‘ 


Sgt 


\ ntsaapaeas gees. 


wot, 
nt e 
eat bekiog: x vd 
| puexaiese eth 


rea 


ave” 
Sad. stor 


Tie hne-a simoico yd 
SY value s Ost 
Brien: peer set 


46 
of the nobles were covered by slazed tiles, for which came Fler- 
@entine masters, that the smiths furnished artistic and splend- 
idly executed gilded grilles and other works, that the ridges 
of the roofs and the apexes of the numsrous towers shone with 
likewiss gilded leaden ornaments, sometimes also sleamed with 
shining fayence tiles, particularly in Normandy, we have.a pic- 
ture of the artistic furnishins of these buildings affecting 
all their parts. 

Tt is true that joyous time knows no strict law of composit- 
ion nor any classical development of forms. But however little 
classical are the details, yet this architecture has such inde- 
pendent value as the faithful reflection of the customs and o 
Opinions of their time, as the expression of the events in the 
lives of the princes and their circles, whose character we have 
described above. One must not seek here purity of style, and 
just as Little a correct treatment and use of the antique; bat 
an original charm, picturesque grace, the expression of say en- 
joyment of life in naive blending and piquant elaboration of 
heterogenous forms, will be appropriate to this amiable archi- 
tecture in 2 high degree. . 

About the end of the reign of Francis T, and thus about the 
middle of the century, the antique commences to exert a strons- 
er influence. Men strove for a greater regularity of plan, as 
for example may be recognized in the chateau Ancy-le-France. 
(Plan in Pig. 97). The remains of mediaeval tradition disappear, 
the numerous projecting additions, angle towers and stair tew- 
ars are suppressed, the stairs are more included in the inter- 
ior, but are always simply arranged according to the kind in 
Florentine palaces, with a simple flisht covered by an inclined 
tunnel vault and with tolerably steep steps. Every stairway in 
the Louvre by which one ascends to the galleries of paintings 
is a striking example. But particularly the details are treated 
in the antique sense, the classical columnar orders are more 
siriebly observed, more purely imitated, more harmoniously man- 
aged (Pig. 20), the wall surfaces receive by colamna and pilas- 
ter orders a rich entablature,aiid:comnice, with a resular sub- 
division by niches. Likewise for this the Louvre presents the 
finest example in its court facades. But in spits of the apps—_ 
arance resembling the antique, the steep roofs and the high pa- 


—— 


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pavilions are rstained with their colossal chimney caps, yet 
the dormer windows are no longer treated in a manner like.the 
Gothic, but are enclosed by a more strict pilaster system and 
are terminated by a sort of antique cap. fiverywhere is the en- 
deavor for greater simplicity and repose, but with the joyous 
freedom of the earlier spoch is lost much of the naive charm 
of this architectural style, and under the successors of Henry 
II already steals in a frosty insipidity. Cut at the same time 
occur ugly, capricious and sven Barocco forms, heavy members, 
broken cornices, shafts of columns with horizontal bands and 
fanciful ornaments, finally excrescences of every kind, so that 
the Barocco style appears here almost earlier than in Italy. 
This is particularly trus of the treatment of the interior, 
where the wooden paneling and hangings on the walls, as well 
as ths artistically carved wooden ceilings ars sradually supp- 
lanted by the stucco work introduced from Italy, combined with 
painting, indsed for the most part already restricted to over-— 
loaded pomp and mannerized forms. But on the whoke and especi- 
ally on the exterior, there always remains a certain solidity, 
power and grandeur, produced by important masters like Lescot, 
Bullant, de 1’?Orme, and French architecture retains till in the 
first decades of the 17 th century an undeniable stamp of ori- 
Sinality. 


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48 
Chapter II. Transition Style under Sharles VIII and 
Lonis XII. 
12. Revival of the church Gothic. 

It has already been stated, that the begets: communities and 
clergy opposed the Renaissance until the en “of the 16 th cen- 
tury. They continued steadfast in the traditions of the middle 
ases and erected their churches, city halls and houses in the 
Gothic style. Church architecture first retained the old system 
in the arrangement of plan and constructiou, and only in the 
sportive tendency of the decoration of the flamboyant style 
did it betray, that the aroused worldly pleasure, the secular 
sense of the realistic time carried its strons influence also 
into the religious Life: In order to sive a conception of the 
exuberance, with which occurs this Indian summer of Gothic in 
Prancs, it suffices to refer to the series of monuments enume-— 
rated at the proper place in Kusler’s History of Architecture. 
Works like S. Maclou at Rouen and the facade of the cathedral 
there (1485-1507), as well as the Paris church of S. Germain 
i’ Auxerrois, of S. Severin, S. Gervais, S. Medard, S. Merry, 
the latter first built after 1520, finally the tower of S. Ja— 
ques de la Boucherie (1508-1522), farther the excessively rich 
facade of the cathedral of Troyes and the other churches built 
in that ancient city in the same centurw, but first of all the 
masterpiece of Notre Dame at Brou (1506-1536), many other chu- 
rch buildings of this epoch sive a splendid idea of the revi- 
val of the Gothic. e's 

In this late mediaeval form first exhausted itself that fan— 
cifully decorative tendency, that was peculgar to this century, 
mostly in the North. As a rule men have treated as bad theses 
works of this flamboyant style and as “decadent art,”.regected 
as “Gothic pedantry”. Unjustly in truth, when one examines the 
wealth of creative power, the overflow of the inventions of ¢g 
Senius shown therein. These works certainly must not be measu- 
red by the scale of the strongly structural style of the early 
Gothic of the 13 th century. In construction they are much low- 
er than thoss, and before all their ornamentation has in its 
lively spirits released itself from the structural basis, and. 
untroubled by that carries in its own hand its varied interla-— 
cings as 9 loose sport. But what an unconquerabis pleasure and 


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49 
@ manifold expression of ornamental life, what an immeasurable 
series of variations on the same theme, and with what skill t 
the chisel is driven, indeed every material is bullied anf fl- 
attered! Doubtless this refinement like every other is not the 
highest in art, but there remains in it a good piece of the 
poetry of the stonecutter, and the fanciful senses of the. csnt- 
ury found its finest expression in it. Before all one thing is 
clear; this school loving ornamentation first came to excel all 
in decoration. It is to be repeated, that when first made acq- 
uainted with the forms of the Renaissance, it will not meditate 
for a moment also to embody in this means of expression the al- 
ready existing treasure of ornamental forms. We shall see that 
it so occurred. . . 
18. Late Gothic secular architectures. 

Mors important for us are the private houses of this epoch, 
Since while they still freely adhere to Gothic forms, to cert- 
ain mediaeval peculiarities of plan, the joy in the life of the 
time appears in the more stately design and the richer execut— 
ion. One of the most beautiful examples is the well preserved 
house of Jacques Coeur at Bourges (1448-1453). Holding the in- 
termediate position between a feudal castle and e@ city mansion, 
it adjoins the city wall with its towers, which are taken into 
the sround plan. An irresular court separates the liviag rooms 
from the street. Three stair towers projecting into the court 
afford convenient admission to the different parts, and suggest 
the rich arrangement of anterooms, on which was already laid 
great stress in mediaeval castle architecture. Over the .broad 
gateway with its narrow side antrance for persons on foot lies 
the chapel, that has its own stairway. At both sides adjoin 
wide porticos openinto the court by arcades, intended forsthe | 
external business of the house. . ! 

The most complete representation of a prominent city dwelling 
of this time is afforded by mansion Cluny in Paris, built after 
1485. Likewise here a court surrounded by a wall crowned by bat- 
tlements separates the dwelling from the street* an arrangement 
that in the most recent times has remained in use for important 
city residences in France. Also here the great portal is accon- 
panied by 2 little entrance for persons on foot, here just at 
the left is the room of the porter, which by its own windings 


YO. 


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50 } 
stairs and an arcaded passage is connected with the dwellings. 4 
Likewise here are several windins stairs, that permit access 
to the different rooms and connect with the sarden. 

About the same time toward 1490 was built in Paris the mans— 
ion de la Tremoille (Fis. 21), which was tory down in the for- 
ties of the last century. With a splendidly rich equipment, it 
asain had the double entrance A into an irregular court, that 
separates the living rooms from the street, and is surrounded 
on two sides by open arcades. Several stairwayu no longer star- 
ting from the court, the principal stairway connected with a 

lisht of steps and a ramp, formed ths connection with the up-— 
per story. Over the passage B that led from the court to the 
garden, there projected on slender columns @ chapel for the 
house, an arrangement liked in the middle ases, that we shall 
often find. A smaller court O with a fountain was connected a. 
with the garden by arcades, and separatedithe livins rooms . 
from the kitchen and its accessories. A second entrance i ov— 
erlooked by the porter’s room and led from the garden izto a 
Side street. 

In the same stwle and now about the end of the 15 th and the 
besinnins of the 16 th centuriss were then built several count- 
ry seats of nobles, that plainly betray the endeavor for splen- 
did ornamentation, although this is still axprassed entirely 
in Gothic forms. Of such a kind is chateau Meillant in the.de- 
partment of Cher, built about 1500 by cardinal Amboise, whom 
we shall meet Later as a noble-minded promoter of art. He erec- 
ted this for his nephew Charles of Amboise, lord of Chaumont, 
while the latter was absent as sovernor of Milan. The structure 
exhibits the irregular plan and the arrangement of a medieval 
castle. It consists only of a lons wins broken at an oblique 
angie. Externally it is flanked by numerous towers of irregular 
form and at both ends rise sauare towers with machicolations 
and high roofs. The western one presents itself to be recogni- 
ged as the old keep by its imposiys mass of masonry. — 

While of this entirely in mediaeval style only served the 
purposes of a fortification, the habitable character peculiar ~ 
to modern times is expressed on the inner side next the court 
by the great windows with stone crosses, the richly opened 
Salleries, that like the window parapets exhibit vesica motives, 


38 


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51 
and the tall dormer windows richly crowned by their gables. Tf 
The ascents to the livins rooms are placed in the three polys- 
onal towers, and besides them projects a little octagonal 
tower likes a bay window. The masterpisce of the entire design 
is the principal stairway, whose angles are enclosed by stron- 
Sly twisted columns, and whose surfaces from below upward are 
covered by blind tracery and the devices of the owner. Over 
the low portal are the supporters of the arms with the shield 
and mottos of Charles of Amboise arranged under three rather 
wonderful canopies. The tower ends in a terrace enclosed by a 
perforated balustrade decorated by the vesica ornament. From 
thence rises @ lantern beset by crockets as a crown of. the pow- 
erful entirety. Under the balugtrade extends a Gothic crowning 
cornice, that is externally enriched by a round-arched frieze 
and niches with shells. The latter is the only echo of Renais- 
sance forms found on the entire chateau. But it returns again 
to the little fountain treated as 2a Gothic pointed pier, which 
is found in the court. A little Gothic chapel is also detached 
from the chateau and complétes the design. 

Another work of this time is the chateau of Chaumont (Fig. 
22). In a magnificent location high above the Loire, it yet 
retains its entirely mediaeval stamp and the emblems that Meil- 
lant also exhibits, to whos ’possessofp¢harles of Amboiseé,is 
also to be referred this buildinsg.for a great part. It consists 
of two wings, grouped in irregular form about a court, and fl- 
anked at both ends by massive round towers with machicolations 
and high roofs. The entrance through a round-arched satewag t 
lies in a high pavilion, that is enclosed between two massive 
round towers with machicolations and steep roofs. The court 
opens between the two wings of the building as a free terrace 
with a splendid view over the Loire. 

Ths interior exhibits in its halls, chambers and the great 
Sallery a magnificent treatment in the style of the Renaissance, 
so that here is received in full measure the habitable impres-— 
sion of the chateau of this timc. Worth sesing ars especially 
‘several tapastrics of the 15 th century, that belons to the 
original furnishing of the chatcau. Likewise the great .cross- 
shaped chapel, built in rich flamboyant style and adorned by 
painted glass, merits consideration. The forms of the entire 


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52 
building still exhibit the Gothic style. 

Of a similar kind is the chatsau of Fougeres, built by PB. de 
Refuge, treasurer of fouis XI. Likewise here the entrance:-is 
flanked by two towers, and at the angles of the building proj- 
ect massive round towers and a square tower like a keep. The 
court is enclosed by arcades and ths main stairway 4s usual 1 
lies in a richly ornamented polygonal staircase. 

Also the beautiful chateau of Martainville, loeated in the 
department of Lower Seine, exhibits in allied manner a still 
complete dependence on the mediaeval world of form, but in an 
arrangement of plan with the modern idea of the comfort of a 
freer habitation (Fis. 23). In an extensive court enclosed by 
farm buildings on two sides, and by walls with Littie round 
angle towers, rises the main building in the form of a recta- 
néle 70 ft. wide anf 48 f%. deep. At the four angles.project 
round towers, internally containing polygonal chambers, that 
are connected with the principal rooms as cabinets. Ths entra- 
nce lies at A in the middle of the facade under the choir of 
the chapel arranged in the upper story and projecting as .an 
oriel, a frequently repeated arrangement in France. A passage 
covered by a cross vault separates the great hali H from the 
two rooms D, SG, lying on the other side. At the end of the. 
corridor is placed the windins stairway B in 4 polygonal stair- 
case, which leads to the two upper stories. In the principal 
story a part of the corridor is ssparated by a cross wall as 
a chapel, and at each side of the passase are arranged. two 
chambers connected together. The exterior shows itself as a 
brick buildings full of character, in the upper stories adorned 
by lozenge panels and lily ornaments in darker bricks. Yet the 
rich Gathic gable caps of the dormer windows are executed in 
cut stone. All] this and the animated membering in-séneral, the 
four angle towers with their conical roofs, the tall stairway 
tower crowned by 2 belfry, and the ornamental choir of the ch- 


i 
particularly in the northeast provinces, that found direct mod- 


els in the city halls of adjacent Flanders. They mostly consist 


of 2 vaulted hall in the Sround story, over which rises the up- 
per stories, often crowned by a sreat belfry, in rich ornamen- 


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ornamentation of the late Gothic period. Besides the city halls 
already described at S. Quentin, Noyon and Saumur, we mention 
the city halls of Douay, Dreux and the particularly attractive 
one at Compsignse, that indeed possess¢s no vaulted hall, but 
is distinsuished by niches for statues crowned by canopies, by 
2 sreat fiat arched niche for the equestrian statue of Louis 
XII, and especially by the sreat belfry risins above the middle 
of the facade. The building was began in 1499, and is likewise 
entiesly executed in the Gothic styls, again a proof how firn- 
ly and how longs the circles of citizens adkered to naneee tra- 
ditions in opposition to the Court. 

14. Chateau of Amboise. 

When Charles VIII returned from Italy, he burned with zeal 
to cause such magnificence to be executed, that he had seen 
yonder in the splendid palaces and villas. By cardinal G. de 
Rovere, later Pope Julius II, he was sent a richly ornamented 
model of a palace, that G. da Sangallo had made for him. The 
artist must himself take it to Lyons, where the kins Sreeted . 
him with joy and richly rewarded him. But before all the king 
caused artists to come from Naples for the works, by which he 
thought to beautify the shateau of Amboise (1498).. According 
to the evidence of Comines, he undertook there such sreat buil- 
dings, “that for a hundred years no king had erected,” And ind-= 
eed both at the chateau as well as in the city. With what zeal 
the king carried on this affair is shown by the receipt of an 
N. Fegot, who acknowledges the receipt of 398 livres 5.sous 
Tournois for the transportation of several tapestries, books, 
paintings, marbles, porphyry stones and other articles, as 
well as for the maintenance of 22 workmens, whom the kins can- 
sed to come from his works from Naples.to Amboiss. 

The chateau of Amboase (fis. 24) is yet always an imposing 
building, that with its mighty towers and its elevated terrace 
rises to dominate the high bank of the foire. From the build= 
ings of Charles VIII, according to the statements of Comines, 
date the two great towers C and D, of about 40 ft. diameter, 
in which an inclined ramp 20 ft. wide allows ons to ascend.on . 
horseback to the top of the terrace and the court of the chat- 
san at the stme height. The inner court A is surrounded on two 
sides by arcades, that intersect at an acute angle of the irr- 


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54 

irregular plan. Namerous windins stairs project internally and 
provide communications in these older parts of the buildings. 
A hall of considerable size still forms the most important part 
of the internam apartments. ixternally several round towers o 
occupy the angles of the chateau. A little cross shaped chapel 
B with polygonal choir is still planned and constructed in Go- 
thie likewise projecting from the outer wall. It appears to 
belons to the same time, but under the restoration by the duke 
of Orleans was asain rebuilt. 

15. Chateau at Blois. 

An early death removed Charles VIII in the midst of his und- 
ertakings, and the buildings commenced in a great style renein- 
ed unfinished. But Louis XII in his long and fortunate reign 
(1498-1515), impressed by the nobility of Italian art, again 
undertook these endeavors, and sought to make them not merely 
art works, but laso to obtain artists for himself. He invited 
the Genoese Fra Giocondo, of whom Vasari states, that he built 
two beautiful bridses over the Seine, and elsewhere executed 


many works in Prance for the king. But in truth only one bridge, 


that of Notre Dame, is proved to have been built, by Fra Giocon- 
do, after the old bridge fell in Nov. 1499. First in the sutumn 
of 1512 the new stone bridge with its booths was safely comple- 
ted. Otherwise neither from the archives nor from the styte of 
the buildings of fouis XII, not in any manner is confirmed the 


activity of the artistic brother as stated by Vasari. Also the 


old court of accounts in palace of justice, judgins from the 
engravings of I. Sylvestre, can any conclusions be derived for 
the partbagipation of Fra Giocondo. ; 

But the love of art of the king set him to building the chat- 
au of Blois as the most magnificent monument. From the city 
of Blois rise two hills, of which the higher is crowned by the 
cathedral, the lower rising through the extended structures of 
the royal chateau. The history of the castle extends back into 
the Roman period, where at the end of the 6 th century it app- 
ears as a fort, was a feudal castle, first under the count of 
Blois, then under the duke of Orleans. In the year 1438 are 
mentioned important works thers, that however exclusively con- 
cerned the fortifications. Since ths middle of the 15 th cent- 
ury its character was changed like so many other chateaus of 


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the middle ages, and from a warlike fortress of the feudal pe- 
riod it bacame a masnificent princely residences. Louis XII had 
an animated preference for his birthplace and mostly resided 
here, brought to an end this rebuilding with all the wealth. of 
his time, end as J. de Auton says, built the chateau entirely 
anew and with truly royal expenditure. 

The imposing building (Fig. 25) substantially exhibits diff- 
erent groups of buildings. The oldest portion at the risht of 
a person sntering forms the northeast ansle of the whole. It 
consists of the great hall H for thse mediaeval assembly of no- 
tables and bears the impress of the 13 th century, the tine of 
S. Louis. Stone tolumns sith early Gothic capitals and pointed - 
arches divide into two aisles the hall, 50 ft. wide and 90 ft. 
longs, each aisle havins & wooden ceiling in form of a pointed 
arch. This upper portion dates from the time of Louis XII. To 
the buildings of Bhis king then belongs the eastern wing B, that 
continues at the southern side & at a right angle and there re- 
ceives the chapel J. The buildins of Brancis I, to be described 
later, extends at an obtuse angle on the opposite northern side 
O and formerly with the western wing formed the termination. 
In place of the latter appeared later the tasteless building 
of Gaston de Orleans. We first have to do with the work of bo- 
ais XII. . 

¢ principal facade B lies at the east and is 160 ft. longs, 

divided irregularly, its mass being constructed of bricks like 
the entire building of Louis, except the plinth, the enclosures 
of the windows and doorways, the rich crowning cornice with cor- 
nice and balustrade composed of vesica patterns, the dormer ¢ 
caps of the roof, and finally the angles and pilasters, that 
are made of cut stones. The windows of the ground, upper and a. 
attic sborics are on uncaqual axial distances, entirely arranged 
according to the internal requirements. Still is apparent an. 
endeavor for all possibls uniformity of distances. Thés stone 
crossbars, the little columns and the cavettos of the enclosu- 
res as well as the intersecting rounds, and finally the crown- 
ings resting on corbels still entirsly pelonm ti the Gothic 
style. The same is true of the balustrades of the two balconi- 
ss at the Last and next to the last windows, of the fanciful 
tracery of the main cornice, of the form of the vertical bands, 


A Ge st AR eee Rein a 
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58 
and finally of the caps of the dormers, whose ogee pointed ar- 
ches are equipped with crockets and crossflowers and terminate 
in finiels. Only once at the first dormer (on Bhe right) occurs 
a Renaissance motive, that instead of a finial, pilasters crow- 
ned by dslphins are employed. In the panels beneath the arches 


of the dormers are frequently placed the arms of the first wife 


of Louis, Anne of Brittany, and the monograms of the royal pair. 
The portal is unsymmstrically placed at the right side and con- 
sists of a high semircular arch, beside which is a little door- 
way opens with a depressed arch for persons on foot. Over both 
are seen the emblems of Louis XII, the hedsehos with the crown, 
moreover above the main entrance under a rich canopy with gol- 
d@acliliesconzacbhuessround is the equestrian statue of the 
king in high relief. This belongs to the restorations, that 
have again restored the entire chateau under the masterly. suid- 
ance of Felix Duban. 

Ths inner facade next the court is formed by arcades B and. 
F in the ground story on the castern and southern sides, where: 
very depressed arches rest on piers, that alternately exhibit 
lozenge panels with lilies or a paneling or framework with ara- 
besques after the style of the Italian Renaissance. Thése are 
the sole decided eckos of the Italian style, while all elise, 
profiles of arches, cornices and balustrades to the finials of 
moe and dormers are still Gothic. The connection with the 


upper story with both angles at right and left of the entrance, 
is hehe by winding stairways * and G, of which that on the 
right shows itself by longer plan, richer ornamentation and a. 


direct ending at the great hall, as the principal stairway. © 
Especially beautiful are the richly ornamented eight ribs and. 
the vaulted termination. The upper story consists of a single 
sopies of rooms 26 ft. deep, the main hall beins 42 ft. long. 
In the southern wins lies the single-aisied chapel,J with an 
octagonal snd, rich star vaults and windows with vesicas, ent- 
irely the work of the flamboyan& Gothic, recently again rest- 
ored. There also dates from the time of Louis XII, its founda- 
tions even from the time of the sarly middle ages, the round 
tower L at the northwest angis of the chateau, that was later 
entirely included within the buildins of Francis I. 

We nothing of the architects of the building. The style speaks 


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against rather than for Fra Giocondo. On the contrary, it is 
determined py recent discoveries, that Colin Biart,“master ma- 
son of the city of Blois,” was engased both on the chateau of 
Blois as well as that of Amboise. According to all appearance, 
since we shall soon see him called by cardinal Amboise to Gail- 
lon, we must regard him as a very skilful and widely known master. 

16. Chateau of Gaillon. 

The greatest promoter of the Renaissance in France was the 
minister of Louis XII, cardinal George of Amboise, archbishop 
of Rouen, one of the most enlightened statesmen of his time. 

He knew how to provide himself with Italian books and art works, 
and therewith adorned both the archbishop’s palace in Rouen and 
aiso his chateau of Gaillon. Great sums, that came to him in 
sreat part from the fines laid on the revolted Italian cities, 
he employed in the buildings of these chateaus. No less than 
153,600 livres, a sum now equal to tkentyfold (3,172,000 frances) - 
was the amount according to still existing accounts of ths en- 
tire cost of the erection of qaillon, and yet the cost of buil- 
ding the archbishop’s palace at Rouen exceeded this by a third. 
Among others, there arose a magnificent sallery in the garden 
with a marble fountain, then a chapel and an oratory. Nothing 
remains of those works, but on the other hand we have of Gail- 
lon, that was sold and dissracefully devastated in 1792, at 1 
least some remains in the School of Fine Arts at Paris, the 
drawings of du qerceau and the complete acounts of the cost, 
which allow us a comprehensive view of the artistic affairs of 
that time. Although the chateau was not the private property 

of Amboise but belonged to the archiiepiscopats of Rouan, and 
although in his very busy life he could seldom and but for a 
few days reside there, the high-minded prelats in pure enthus- 
iasm for the art, campiéd on the construction with all zeal 
from 1502 to 1510 at his death. Sometimes he appeared to Look 
after his buildings, to enjoy their pregress, but then must --- 
go little care was then taken for the necessary arrangements --- 
everything needed even to means of living must be brought from 
Rouen, and it even occurred that one must borrow a bed. Yet 

all was there executed with the greatest masgnificence,. marble 
piers and medallions of the same material were obtained, and 
the richly ornamented marble fountain was even bequght tras 


rf 


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58 

Gaillon lies about 45 miles from Rouen, a mile from the Seine 
and on hilly sround, that affords 2 rich view toward the east. 
In the middis ases under Philip Ausust, it was a strons fortr-— 
ess, that in the 13 th century came into the possession of the 
archbishop of Rausn, and in the 15 th century was destroyed by 
the English by razing the walls and the keep. Soon Thereafter 
cardinal d’Estoutevills rebuilt the castle, and George de Amb- 
oise found it in this condition. In his rebuilding (fis. 26), 
he added to the existing works, retained the main walls with 
the towers and moat, thereby preservins the irresular triansu- 
lar form of the whole. He threw a drawbridge over the moat L, 
protected it at the date a by two towers, to the main entrance 
bc. This lay in a rectansular pavilion H with little towers 
at the adgles, adjacent at the right and left of d’Estouteville’s 
buildings G. From thence ons passed to the outer court A, and 
from this through the gallery & to the principal court B. This 
is also irregular in plan with arcades on two sides D and &, 
thet were open in the lower, but closed in the upper story. 

Two projecting polygonal towers in opposite corners f and m 
contain the winding stairs to the upper story. They are con- 
nected with the galleries at the same time, and through them 
permit access to the apartments. The main stairway f is state- 
ly with its external piers and open arches between them. In 
the middle of the court stood the famous marble fountain gs. In 
the northwest angle of the court rose @ rectangular pavilion 
K, flanked outside by little towers on corbellings, throush 
which one passed overt a drawbridge to a great terrace, and 
from thence reached the extended garden. 

The principal building C,“the great house”, consists of a 
seriss of rooms, before which on the outside extends a magnif— 
icent gallery h on marble piers. At one angle this is flanked 
by a great round tower I, and at the opposite side by the cha- 
pel J. The opposite irregular part F G of the building was ter- 
med the house of P. de 1’Orms, after the name of the construct- 
ing architect. Also the pavilion K, that forms the connection 
with the gardeu, pore the name of that master. The garden it- 
self formed a flower lawn of Sreat extent, 540 ft. wide and 
twice as long, inclosed at the southeast longer side by an 
open gallery, that ends in a little pavilion. The middle of 


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59 
the garden exhibited a runnins fountain beneath a dovecot. From 
the sarden one passed into the part with its magnificent sroups 
of trees, from which a long alley led to the hermitage and to 
the “white house”, an arrangement added by the second successor 
of Amboise, Charles de Bourbon, in a rather garocco style, but 
with Sreat magnificence. The entire park comprises an area of 
500 acres. 

The general appearance of the chateau (Fis. 27) a its high 
roofs, chimneys and ornamentally crowned dormers with the nun- 
erous towers, subordinate towers and the Gothic chapel was one 
extremely picturesque, yet entirely in the sense of the middle 
ages. Only tbe arcades with their depressed round arches, the 
medallions and the pilasters belong to the Renaissance. But t 
these new elements are much more strongly mixed with the Gothic 
forms than at Blois, and the transition style distinctly appe- 
ars in Gaillon for the first time. All parts of the building 
were adorned in the richest manner, particularly splendid was. 
the external sallery, whose arches rested on nine marble piers. 
Over the archivolts were placed marble medallions wibh antigue 
busts. In the great round tower of this side was the cabinet 
of the cardinal, whose carved wooden ceiling gleamed with gold 
and agure. Further was the great hall in this principal part 
of the residence, 2 room mentioned with gilded leather hangings 
and another with green velvet tapestry. The hall measured over 
100 ft. long by 48 ft. wide. Like the other rooms, it was dir- 
ectlyconnected with a Magnificent terrace, supported by a mar- 
ble gallery. 

With particular splendor was the chapel furnished, which made 
itself particularly notable externally by its bell tower with 
open lantern. Covered by silded lead in pretty ornaments, it 
was adorned by figures of sibyls and of sirens. The altar of 
the chapel was entirely made of marble with relief figures of 
the 12 apostles, the choir stalls being covered by ornaments 
and fisures in artistic carved work. The 18 windows with paint+ 
ings on Slass, that still aroused surprise at the beginning of 
the 18 th century. Even the walls of the chapel wers decorated 
by paintings, that 4. Solario of Milan had executed in two yéars 
until 1509. By him was also the altar paintiug of the chapel, 
which represented the birth of Christ. The upper part of the 


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60 
altar was formed by a marble relief by M. Colomb, S. George gs 
Slaying the dragon, now preserved in the museum of the Louvre, 
while the fragments of the unexcelled choir stalls, that show | 
the highest luxury of decorative magnificence in combination 
of Gothic slements with Renaissance forms, exist in the cherch. 
of S. Denis. Beneath the stairway, the perforated keystone of 
the vault was distinguished by its fine ornaments of relief. 
decoration, and the copper S. George that crowned the roof of 
the great main stairway leading to the chapel. 

The arcades of the court rested on richly decorated piers, 
adorned with arabesques with the most delicate treatmeot, the. 
windows over them with marble medallions of Roman emperors, 
finally the dormers with their pyramidal crownings save the 
architecture of the court no lesser character. Above the arca- 
des was sven seen @ long marble relief, that represented the 
battle of Zenoa and the victorious entry of the french into t 
that city. Painted heads of stags in wood on a ground of foli- 
ese adorned the lower gallery, while the upper one was painted 
in azure and gold on its vaults. Ths entire court was paved 
with black, gray and green tiles laid in rug patterns, but re- 
ceived its chief decoration by the tall running fountain orna- 
mented by works in relisf, that the republic of Venice had sent 
to the cardinal. Of all these beautiful things nothing remains 
but the portal of the outer court, the work of P. Fain of Rouen, 
that now separates the courts of the School of Fine Arts in Pa- 
ris. With its depressed round arches and the pilasters decorat- 
ed by arabesaues it affords an approximates conception of the 
former splendor of this building, which the Revolution destroy- 
ed to the naked walls (Fis. 28). 

17. The artists of Gaillon. 

The building accounts of Gaillon, that afford a complete gla- 
nee into the entire undertataking; also sive us conclusions in 
regard to the artists there engased. Contrary to the so frequ- 
ently repeated opinions of the participation of Italian archi- 
tects, especially of Fra Giocondo, in the French buildings of 
this epoch, it is of value to establish that no prominent Ital- 
ian architect i. mentioned in the accounts, that merely in @ 
subordinate way three artists occur in comparison to more than 
5 hundred French ones at the building, that manifestly the des- 


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61 
design and execution of the wholes was by native artists. Thése- 
were indeed no famous architects in the modern ssnse, but plain 
master builders and masons after the kind in the middle ages. 
They came from two of the most prominent schools of artists of 
the country, that of Rowen and that of Tours, whose traditions 
extend back into the early middie ages. Frequently several were 
engaged at the same time on different parts of the buildings, 
each working independently for himself; sometimes one rslieved 
another in the same work. What the whole suffered thereby in 
united strength was entirely compensated in the spirit of the 
middle ages by the varied diversity and original freshness. We 
briefly mention the chief masters and their activity in buildings. 

As such we learn to recognize G. Senault of Rouen as in the 
first line among the architects. He designed the plans for the 
main buildings, and labored from 1502 to 1507 tn their execut- 
ion. He was- sometimes called elsewhere to important undertaki- 
ngs as an expert, thus at the building of the new towers at 
the cathedrals of Rouen and of Bourses. He was also engaged on 
the new archbishop’s palace at Rouen. P. Fain, likewise from 
Rouen, erected the chapel for 18,000 livres, together with the 
main stairway leading to it. Furthermore he was the creator of 
the portal now placed in the School of Pine Arts(#ig. 28), for 
which he received 650 livres. Ye further find him at the build- 
ing of the archbishop’s palace at Rouen, which he superintended 
in the years 1501 and 1502. pater the abbot of S. Ouen, A. Boy- 
er, called“the great builder,” entrusted to him the building 
of a new residence for the abbot. The third master is p. de 1” 
Orme, also of Rouen, of whom it is expressly stated, that he 
understood how to work in the antique as well as in the French 
manner. He was a,so ensgased in the archbishop’s palace at Rou- 
en. In Gaillon he led in rebuilding the old portions erected 
by cardinal a’fstouteville, built the wing named after himself, 
that lies opposite the“sreat house”, and the pavilion that for- 
ms the connection with the terrace and the Sarden. 

Besides these masters from Rousn, two prominent artists fron 
Toureine were employed in Gaillon; ,. Biart of Blois, who was 
called several times to inspect the buildings, and designated 
as architect of Gaillon, besides being called for the buildings 
of the towers in Rouen and Bourges, erected the bridge of Notre 


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62 

Dame in paris, and was engaged on the buildings of the chateaus 
of Amboise and of Blois. Then P. Valence of Tours, an uncommon- 
ly versatile artist, who was employed as stone cutter and mas- 
ter mason, master carpenter,:painter, joiner and hydraulic en- 
gineer. He chiefly had to do with the buildings in ths garden, 
the great arbor and dovecot, the pavilion and the chapel there. 
He worked in particular on the wooden covering of the sreat 
Sallery in the sarden, led the water from the park into the 
chateau, established the running. fountain and brought it into 
connection. In Rouen he was employed on the archbishop’s palas 
ce, where he laid the floor of glazed tiles. At the conference 
concerning the new tower of the cathedral, whether it should 
terminate with a spire os 2 terrace, he asreed with the other 
architects for the former, but the chapter decided for the lat- 
ter. Also in this is recognized the contest of the old and new 

times, of Gothic traditions with antique opinions. , 

besides these principal masters, many others were busied in 
more subordinate positions. We call attention to two Italians; 
B. de Meynal of Genoa, who brought and erected the marble foun- 
tain and worked on the ornamentation of the marble altar in the 
chapel, and G. Pacherot, an Italian settled at Amboise, who 1 
Likewise worked on the fountain and altar, was also busied on 
the portal and received relatively high wages. 

Besides these architects, the extremely rich relief decorat-— 
ion was entrusted to seven sculptors (“image makers”). H. or 
J. de Bony makes in the year 1508 a S. John for the pavilion 
in the garden, for which he received 12 livres; then “a master 
of Melusina, angels in wood,” for 24 livres, further 15 stags’ 
heads in wood for the lower gallery, finally the model for the 
copper S. George, that was to crown the grand stairway. uM. Co- 
lomb or Goulombe, an excellent master, wrought the upper marble 
relief for the eltar of the chapel, S. George slaying the dras- 
on, now seen in the museum of the Louvre. This master belonged 
to the school of Tours and did his work not at the place but 
in his workshop at home. He received for it the sum of 300 li- 
vres, considerable for the time. But the most extensive orders 
were antrusted to A. Juste, who is designated as the Florentine. 
He made the 12 apostles of alabaster for the chapel, the sreat 
marble frieze with the battle of Genoa, a bust of the cardinal 


aur hg Bt pees) hh A ae tl it ae 
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Re wet Cds dasge yLesisas fitse yeds eonie 
E paises asinoce once Enad tedio edt 20 RS Sates 
Meiet-enid odd Xo olyte: nottiesssd oct fotdw nk 
vagacted ei9h Jsteqmeo f4g woe edd bos blo ass atedy 
Nee duetecth sat bas tale SI9l ecciw .a0ksent to ee 
engi <bigietse <8Gil sefis besoorws. boiblted ef! : 
a vd gotséninzss Leoiatemmys. edt wuisisotisec bos aebsie 
jitownconD .noidazotees tneifeoxs edd od aaoiod gain, tigts 
woh a svode yiogve of0) .onibitsd: Tai edt yits fosqes si doit 
Mt din esein oi yewcksin befove {stoemxen Otiv yrote Snooth . 
jerice tasbele yd hésefoss 28 dotdx gad .@nohain ceingnzioet * 
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63 
and several other works, for which he received the totel sum 
of 447 livres, small in comparison to M. Columb. Binally there 
& Wilansse artist, b. de Mugiano, were also ordered the marble 
statues of the king, of the cardinal and of his nephew, the 
Podesta of Milan. These works were brousht from Italy to Gaillon. 

Among the 40 painters further mentioned, only A. de Solario 
is of principal importance. All others only had to do with the 
Silding and paintins of the architectural and ornamental parts. 
The expenditure for these works, the common use of gold, azure 
and other costly colors evidences the extent and importance of 
this painted decoration. Hor the execution of the windows and 
their glass paintings were employed five slass painters. As ma- 
kers of the costly choir stalls are mentioned P. Commedieu, J. 
Bubois, R. Delaplace, as well as R. Guerpe. Furthermore were 
not lacking bronze founders, art sniths, lead workers, goldsm—- 
iths, and finally are named five miniature painters (illumina- 
tors), who were busied for the library of @aillon. 

18. Monuments at Rouen. 

Of the artists employed at Gaillon, most belonged to the oid 
and important school, that flourished in the capital of Norman- 
dy during the entire middle ages. That in this artistic centre 
no less important works were executed, we already learn from 
the accounts of Gaillon; but of the archbishop’s palace as well 
as of the seat of the abbot of S. Ousn nothins now remains. The 
lavish and magnificent ornamentation on the facade of the cath— 
edral and on S. Maclou, although orisinating in this epoch, we 
have to pass over, Since they still entirely speak the banguase 
of the Gothic style. On the other hand some secular buildings 
are preserved, in which the transition style of the time fully 
appears, where the old.and the new art compete. Hsre belongs 
the palace of justice, whose lsft wins and the greatest part 
of the middle building, srected after 1493, are old, while the 
remainder and particularly the symmetrical termination by a 
right wing belong to the excellent restorstion. Uncommonly 
rich is especially the middie building. One story above a low 
ground story with segmental archétd windows, it rises with its 
rectangular windows, but which are sickased by elegant segmen- 
tal arches. Richly developed buttresses, crowned by tall pinna- 
cles, subordinate the surface; a roof gallery rises with airy 

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segmental arches, and has for a crowning ornamental pinnacles | 
-and statues with & connection with the flying buttresses. The | 
tall dormers terminate in slender gables, before which extends 
the entire perforated gallery. All is decorated in the richest | 
manner by extremely sraceful forms. The left wing forms a sin- 
gle great hall, with galleries and windows at the ends. getwe-— | 
en the windows are small niches in the walls for statues, cron- 
ned by ornamental canopies. Wooden tunnel vaults with openings ) 
for the dormers. In the middle of the principal fagads is con- 
structed a beautiful polygonal ban window, even more luxuriant- | 
ly ornamented than alli the rest. 

A magnificent example of contemporary private archivestiae 
is the mansion Bourstheroulds. The principal building is still 
Gothic in intention, with little flyins buttresses, high dorm- 
ers crowned by finials, and a little stair tower in the angle. 
But in the upper story already occur Renaissance pilasters with 
their relief ornaments, and the surfaces below and beside the 
windows are covered by vividly treated Biblical scenes in low 
relief, without artistic design but purely picturesoue. On the 
contrary the left wing is an ornamental work of the early Ren- 
aissance of the time of Francis I, of high decorative worth. 
Under the windows extends a plinth with extremely sraceful ar- | 
abesques in delicate relief. Then follows the naive ornamental- 
ly executed frieze with the meetings of Francis I and Henry VIII | 
of England in a rich and picturesque arrangement, but modest in 
effect. Above occur the windows of the upper story between pil- 
asters, that are covered on surfaces afid capitals by charming 
arabesques. The windows exhibit the most elegant enclosures, 
in their jambs being little columns like candelabras with.heal- 
thy nude children and other figure accessories. Above an altar 
finally forms the termination, also with very rich pilasters 
and a frieze, that however has a rather too strong relief. In 
this has been found by Palustre representations of the triumph 
of Petrarch. The whole belongs to the most luxuriant and most 
elegant, which this sportive time has produced. the proportions 
are little and triflins. 

As one of the most precious creations of the time must be des- 
ignated the house on the central Place, that formerly served as 
the finence office, and was erected after 1.09 by R. le Roux for 


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T, Bohier, Seneral of Normandy. Here the full grace of the car- 


ly Renaissance appears in a truly enchanting play of ornament, 
in a manifold invention and delicacy of execution. That seeks 
its equal. Frisze of medallions, arms and egblems, the latter 
held by winsed genii and also by winged bulls, arabesques of 
Sraceful outlines on each surface afforded by vertical bands 
and pilasters, its capitals with foliase and dolphins, perfo- 
rated flower sarlands on the window architraves, finally .luz- 
uriant candelabras before the windows of the principal story, 
these are the clements composing this charming work. One no- 
tes here, how ii the Sround story end the low mezzanine over 
it in correct taste is drawn all ornament in the most delic- 
ate relief, whils in the upper parts more distant from the 
eyes prevails a treatment in fuller relief. The hedsehos and 
the L indicate the time of Louis XII; Gothic niches with fini- 
ais at the angles, whose statussewererdestroyed by the Revol- 
ution, are the only decided mediaeval reminiscences. 

Tn this time also belonss the magnificent’ and srand sesmen- 
tal arches, that from the simple and dry late Gothic clock to- 
wer, the belfry, span the street. The picturesque effect of 
the whole is yet enhanced by the fanciful ornament in sSrace- 
ful Renaissance forms. 

19. Ducal palace at Nancy. 

With the most splendid examples of this transition style is 
also counted the old ducal palace at Nancy, the former capitel 
of Borraine. A native artist, M. Gauvain, erected it in the b 
besinning of the 16 th century and sculptured in 1512 for the 
main portal the equestrian statue of duke Anton, that was des- 
troyed in 1792, but was recently replaced by a new one. The 
stately one story building built of ashlars extends to a con— 
siderable length on the south sides of the Grande Rue, and re- 
ceives its principal ornamentation by a magnificent portal, t 
that belongs to the richest creations of this time. All the 
luxury of the flamboyand style combines with the charming orn- 
aments of the Renaissance in an entirety, that even seeks its 
like in this epoch. According to the general custom of the tins 
the portal consists of a wide entrance spanned by a segmental 
arch and a small low doorway for persons on foot. Renaissance 
pilasters covered by arabesques form the enclosure, from which 


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rises the Gothic profile of the arch, the ofec gable with croc- 
kets and crossflower with similarly adorned finials. Over the 
narrow doorway are secn in the tympanum two armed: travelers, 
but on the contrary in the tympanum of the main portal in the 
niche with segmental arch decorated by a small pointed arch, 
is the equestrian statue of the duke. The hish pointed tympa-— 
num filled by a fancifully notched arch is built above it, ri- 
chly beset by crockets and crossflower, and over it finally 
risss a high ornament, on which the Renaissance takes the su-. 
premacy with its pilasters and arabesques with arched niches 
‘filled with shells, to finally be asain terminated by a high 
ogss Gothic arch. This upper crownins, although conceived as 
mediaeval, is translated into Renaissance. forms, particularly 
the finials and the other additions orisinaliy transformed in- 
to candslabras. Hence these works belons with those, in which 
the mixture of beth essentially different elements, indeed in 
all their sportive caprice, but also with an overpowerins orn- 
amnental magnificence appears . 

At both sides of the portal are seen windows in the upper 
story with projecting polygonal balconiss, that rest on conso- 
les in the medieval way and their balustrades are composed of 
vesica patterns. In the interior one enters directly a great 
hall and from this the great court of the palace, that still 
shows a part of its old columnar arcades. From the hall one of 
the most convenient and widest windins stairs with numerous 
resting benches in the deep window recesses leads to the upper 
storw. This consists of a single hall of imposing Length with 
@ carved horizontal wooden ceiling and two masnificent fire- 
places. This hall is called the “gallery of the deer”, and ori- 
Sinally served for the sreat assembly of the nobles of Lorraine. 
Tosether with the lower rooms it is now arranged as a histori- 
cal museum, and among other monuments preserves a magnificent 
tapestry captured in the tent of Charles the Bold on the day 
of the battle of Nancy. 

20. Tombs. 

We meet with a master of Gaillon in the masnificent tomb, 
that queen Anne caused to be erected for the last duke of Brit- 
tany, Francis II. By an inscription it is designated as the 
work of M. Golumb, who completed it in the year 1507. Sntirely 


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67 ; 
constructed of marble of different colors, it bears the recli- 
ning statues of duke Francis and of his last wife, Marguerite 
de Foix, in the wide ducal mantle and with the crown on the 
head. After the mediaeval custom, angsis support the cushions 
on which they rest, and at their feet lie a lion and a srey- 
hound with the arms of the deceased. At the four corners of t 
ths monument, that is built in the form of a medieval. sarcop-— 
hasus, stand the statues of the four cardinal virtues. The sur- 
faces of the monument are treated with niches between elegant 
pilasters, that contain statuetts of the 12 apostles. Beneath 


them are found medallions with relief portraits of the mourners. 


Also here prevails a refined decorative taste. 

A small but charming tomb of this time is seen in the cabhe- 
dral of Tours. It was erected for two early deceased children 
of Charles VIII, Charles of Orleans, who died in 1495 at the 
age of 3 years and 3 months, and Charles II, who died in the 
following year at the ase of 25 days. It consists of one mar- 
ble sarcophagus entirely covered by fine arabesques. On it rest 
the charming and innocent forms of the children, for which two 
small and most beautiful angels with inmost resignation hold. 
the cushions, while at the feet are two similar ones with the 
arms of the deceased. This graceful work is the creation of 
the excellent master J. Juste of Tours. 

binally beconss here as one of the sreatest pisces of masnif- 
icence, the tomb that George of Amboise, nephew and successor 
of the before mentioned cardinal caused to be erected for his 
uncle and himself in the choir of the cathedral of Rouen. We 
know that P. Valence of Tours, whom we knew from the accounts 
of Gaillon, was first entrusted with this; when fe declined, 
R. de Roux obtainsd the execution of the work, that was comp- 
leted in 1525. Roullant (d.e., Roland) was a master much empl- 
oyed otherwise; he worked on the palace of justice, the princi- 
pal portal of the cathedral and on the new tower. He belongs 
to the artists, that knew how to combine the inexhaustible im- 
asination of the middle ases with the forms of the new style. 
The monument is erected in a wall recess against the side wall 
of the choir. Six small niches with seated statues of the vir- 
tues between pilasters, that are adorned in the most luxuriant 
manner, form the substructure. On the slab covering the same 


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68 
are represented the two prelates at life size and kneeling be- 
hind each other. The rear wall contains in niches between ele- 
gant pilasters statucs of saints, with 8. Georse slayings the 
dragon at the middle. Above the kneeling figures is arched a . 
canopy, whose curved soffit is ornamented by rosettes add fol- 
iasge in gold and azure. Three perforated and suspended pendents 
terminate the arches. Its crownins consists first of a frieze 
with arabesaques and most charming nude children, above being 
niches adorned by pilasters with statuettes of the apostles. a 
and other saints. Finally are formed six pyranidal .additions 
in the Gothic sense, but with sarlands, children, shell work . 
and all sorts of fanciful figures, forming a conclusion of the 
incomparably masnificent work. One cannot place any severe crit— 
icism on the composition of the whole: but the inexhaustible 
wealth of imagination, the playfal lightness of the execution 
produces a charm, to which the observer willinsly yields himself, — 


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69 
Chapter III. Renaissance under Francis I. - 
A. Royal chateaus. | 
21. Chateau at Blois. 

If the new style of architecture before could only show its- 
elf in certain attempts, in which the Gothic style everywhere 
made itself felt, then with the accession of Francis I to the 
throne (1515), the Renaissance won a new impulse, that ever 
more and more repressed medieval traditions, and finally ass- 
isted the new style in a complete victory. The kins was hin- 
self one of the princes most devoted to art, that has ever li- 
ved, and found ia his long reign (till 1547) abundant opportu- 
nity to satisfy his love of building. We shall survey the ser- 


ies of the chateaus erected or completed by hin, whose number, 


extent and magnificence arouse astonishment. 

"7 the earliest of these buildings belongs the works of the 
completion of the chateau of Blois. His predecessor (S. 15) h 
had rejuilt the eastern wing in the splendid mixed forms of 
the transition style; Francis I erected the northern wins with 
still greater magnificence and in the forms of a noble Renais- 
sance. The court facade (Fis. 29) is without. quéstion the most 
beautiful and richest work, which the early Renaissance has to 
show in France. It consists of a low sround story with rectan- 
gular windows enclosed by pilasters with capitals Like Corinth- 
ian. Above this rise two upper stories, the first of which is 
distinguished by Sreater height, both with windows divided by 
stone crossbars in medieval fashion. All windows are flanked 
by pilasters like Corinthian, and these pilasters are connect— 
ed together by a continuous vertical division, so that the hor- 
izontal belts on the entire buildings with the vertical members 
form a complete framework, that is everywhere repeated in the 
early French Renaissance, and whose monotony is removed in this 
case by the rich and refined ornamentation. Then the pilasters 
have not merely in the upper stories a border of rosettes and 
elegant capitals of that graceful form, that are also common 
in the eerly Italian Renaissance, but the larger wall panels 
exhibit richer ornamentation by the common use of the well 
known emblem of Francis I, a crowned salamander surrounded by 
flames. The termination is formed by the magnificent crownins 
cornics, that combines its principal forms with antique and 


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fv 20 eefntes Toor doin yldetvel s diin esaclot atere fade 38 


eat evoda aspia stedt yilact? .elfede, Iiewe yd bosnems 


oiedvbetnemenio ,ebesiO stim Saatt efd. Bea bets odd to: 


pe retane Wiglests Ses erétg hfod ylisasetxi .asefo ent | 
i odd doidwgidsin .dsowssait bessge ¢loent 8 myo? acece 


bas shoe yeriiata eft doidm co gdsrted g ewolfos asd? 
binatiaie to dnd fanognteo wrote teage gntavowgs ek gi” 


big) edd da ,shartesisd betarotisg « bas noisiecgmos Lanigiro 


= 


= 3 | ay Vv 


70 
medisval motives for ths highest effect; for it commences with 
a dentil frieze and rich cornice with consoles, but adds above 
these the piped facia and the ess moulding of the latter the 
Romanesque round-arched frieze, whose arched openings are orn- 
amented by small shells. Finally there rises above thse bold 
moulding of the gutter, that does not lack the dedieval sargoy- 
les, an entirely perforated balustrade (Fis. 14), between whose 
piers and little columns like candelabras appear the initials 
of the king and his first wife Claude, ornamenteduby2crémisea 
sndcinterlaéed by ropes. Over this termination, a true triumph 
of the stonecutter’s art, are corresponding to the divisions | 
of the facade, rise the dormers with their refined arabesque 
enclosures, and the crownins conceived in the Gothic sense, but 
executed in- Renaissance forms. 

But the unsurpassed masterpiece of the entire building is the 
famous stairway (Fis. 29), that is placed in an octagonal stair-— 
case originally projecting exactly at the middle of the facade. 
This relation was later disturbed by the buildings of Gaston, 
who destroyed a portion of the beautiful design of Francis I. 
It is one of the most magnificent stairways of the Renaissance, 
arranged in an octasonal addition as a stairs winding about a 
newel entirely moulded as Gothic, with a diameter of 18 ft.in 
the clear. Sxternally bold piers and straight arches of wide 
‘spans form a fresly opensd framework, within which the inclin- 
ed landings are developed as balconies with richly ornamented 
balustrades. The highest luxury of execution is concentrated 
on these parts; the lower parts of the piers are covered by — 
the finest arapesques, beside which are visible arms, emblems 
and the initials of the king and queen. There further appear 
statues of allegorical figures on richly sculptured consoles, 
beneath canopies with Gothic elevations and Renaissance deta- 
ils. PindIlly the balustrades in the lower story with supports 
Like candelabras, in the upper adorned by salamanders and the. 
letter F in the finest ornamentation; the upper termination 
is here formed by the main cornice and its noble balustrade. 
Then follows a terrace on which the stairway ends and behind 
it is a crowning upper story, octagonal but of smaller diamet- 
er, that again closes with a lavishly rich roof cornice of very 
original composition and a perforated balustrade, at the middle 


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rising an ¢legant and slender added gable as a crowning, simi- 
lar to the dormers but again a new variation. In a word: on 
this wonderful work in architecturs is an oroginality in compo- 
sition, a spirited freshness of invention, an artistic refine- 
ment in execution, that nowhere asain has its equal in this art. 

The interior of the stairway is no less of the rarest masnif- 
icence and richest execution. The wall piers are formed by no-= 
ble pilasters, the inclined ceiling is divided by Gothic ribs, 
in whose intersections appear rosettes of the most elesant work. 
The newel is covered by precious arabesques on the narrow sur- 
faces between the Gothic rounds, the upper vaulted termination 
of the stairway is decorated with special refinement. put bef- 
ors all the openings of the portals with rare luxuriance in t 
the separate stories, ornamented by salamanders and noble ara— 
besques in-sportive ‘nie 

The internal arrangement of the upper stories consists of two 
serics of larger and smaller rooms, that are neither character- 
ized by particular size nor by unusual height 3-- the latter 
Zoes not exceed 15 ft. Yet rather unusual for this time is the 
double row of rooms, which orisinated because a new wall was 
built at the outside at a distance of 16 ft. from the old outer 
wall. Both walls have a thickness exceedins 5 ft.; the middle 
part enclosing a rectangular tower is even 6.6 ft. Thereby are 
formed those deep window recesses on the exterior, which lend 
these rooms a special charm. Before several of these rooms open 
polygonalibalcsnies externally, that likewise!afford the narrow 
rooms like a corridor e freer view. Nearly at the end of this 
wing ig arranged a little chapel with a polygonal projecting 
choir. Finally an open passage on arches was placed around the 
old tower belonging to the older building, arranged at the top 
like a balcony. By the masterly ‘pestoration by puben it has 
been brought into nearly its original condition. The richly p 
painted wooden ceilings with their carvéd beams, the large and 
magnificent mantles, the glazed tiles of the floors, are faith- 
fully restored according to the old patterns. 

Ws finally have to glance at the longs northern facade (Pig. 
30). It priperly exhibits @ similar treatment, and more strict 
adherence to the Italian style. The facade rises in its entire 
length from the irregular rocky sround, indeed so that its wes- 


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72 

western half has one story less than the eastern. The latter 
besins with a sround story of coupled and arched windows with 
crossbars, instead of which the western portion only shows hea- 
vy substructures. Then follow for the entire lensth of the bu- 
ilding two stories of cqual heights, whose windows are placed 
in arched recesses like losgsias. By the arches of this arcade. 
as well as by many other details, one recognizes that here two 
different conditions adjoin; the western half has depressed b 
basket arches, the sastern merely a segment of a round .arch, 
the last form less pleasing as beings less organic than the 
former, both indeed reauired in the northern Renaissance by +t 
the small height of the stories. fnclosing the separate syst-— 
ems forms pilasters below and above, whose capitals vary from 
Gorinthian forms with true Florentine refinement. If anywhere, 
thers may be surmised on this facade the influence of an Etal- 
aan architect. The round-arched frieze with shells forms the 
termination of this facads, that makes one part of the magnif- 
icent main corniceof the court facade. One must wonder at the 
fine taste with which this simpler form is chosen for the ex— 
terior, above the lisht arched walls. Above the. cornice rises 
yet a story with short and stumpy Ionic columns on stylobates, 
connected by a balustrade, and whose form on the sastern half 
is that of a short and small Corinthian pilaster, while simpler 
on the western sidsa 

The long extent of this facade is broken by the polygonal b 
balconies, partly constructed as opsn projections, partly as 
enclosed bay windows. They develop in medieval fashion from 
corbels set diagonally with little supportins figures and rich- 
ly subdivided bases. They have gargoyles of fancifal forms at 
the angles, on the balustrades are scenes from antique. mythol- 
osy in relief, on the piers are sraceful ornaments, consistins 
of emblems and arabesques. Besides the pilasters of the princi- 
pal He, in the western building are also richly decorated, 
whila in the other parts are left plain. Further the balustra- 

es of the principal story exhibit the initials if the kins a 
and his quesn as well as the emblems of both, the carved sala- 
mander in flames for the kins, the lilies and the swan struck 
through by an arrow for the queen. If we edd thereto that the 
niches of the loggias sleam wath Sold and azure in the splendid 


? 


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ae adeeb edt excted botnosxe sceex eiceg enoizey ati sadd 


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haha 
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to: Pgikt beptorers wotsnlovel ed? .ecce ed oF [fit wor ers 
on ten 8tt dh baa ,piibited tneoiiinnan @ikdd ao oktuoiudeob 
pennes tostscqz! wecso.yaam oe diiw CONE ssey add oi tedt deur 
ota etd to Leek ott oF Sdybesd yiseen can 21 einem 

pire REL conte yoo bac <wAoatiIsd cdot Hehsthehb sew neodeda. odd 


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wi eae ean AAR StH eds ei /noferetqnt ceodw .ectineoo 
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2 eee) ee 


73 
decoration by color, then we have an approximate conception 
of the magnificence also of these yet simpler parts. 
’ As for the date of the buildings, it appears from the emblens 
that its various parts were executed before the death of the 
queen Claude (1525). Since the eastern part of the exterior 
is evidently later than the western, and since both were begun 
later than the court facade, we shall indeed be justified in 
‘placing the commencement of the building back in the beginning 
of the reign of the king. 

In the 17 th century the chateau of Blois experienced the re- 
Srettable transformation by Gaston of Orleans, brother of fouis 
AIII, who from 16385 to 1660 caused Mansert ti tear down the w 
western wins and replace it by the pompous but insipid struct- 
urs now still to be ssen. The Revolution exercised its love of 
destricutio on this magnificent building, and it did not lack 
much, that in the year 1793 with so many other important monu- 
ments, it was nearly brought to the level of the ground. hater | 
the. chateau was degraded into barracks, and only since 1841 it 
passed through the splendid restoration by F. Duban, by which 
one is now surprised. 

22. Chateau of Chambord. | 

If one desires to treasure the wealth of ideas, the variety 
of the inventions of this creative time, he must consider the 
extreme diversity in plan and construction of the separate cha- 
teaus. If the ornamental forms did not speak with certainty, 
then would ons scarcely believe, that the capricious chateau 
of Chambord was erected at the same time and for the same prin- 
ces as the noble building of Blois. Chambord lies several mil- 
es distant from Blois and from the hoire in a desert and sandy 
country, whose impression is the more miserable, when one has 
scarcely left the smiling banks of the Loire. Only the love of 
hunting of Francis I Save occasion to build in this desert such 
@ grand chateau. It rises like a mirage in a now waste and for- 
ested enclosure si°considérable extent surrounded by a wall. 
Already in the early middle ages there lay here a littls hunt- 
ing lodge of the count of Blois, in the vicinity of which the 
mother of Prancis I inhabited the chateau of Romorantéin, The 
king retained a stront attachment to the localities of his you- 
th, and began about £526 the erection of this mighty chateau. 


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74 

The construction is colossal and powerful, entirely of great 
ashlars, the entire building from west to east being about 
400 ft. wide by 275 ft. deep, exclusive of the towers. It is 
as if the entire imagination of the middle ages had again ar- 
isen against the penetrating new spirit, and had obstinately 
and capriciously opposed itself to the Renaissance by this 
colossal creation, an attempt which appears the more interest-~ 
ing, since it is executed with the forms of the details of the 
Renaissance (Fis. 31). 

The plan of the whole (fig. 32) agrees so accurately with 
the arrangement of the mediaeval castles, that it even adopts 
the colossal principal tower or keep, isolated from the other 
buildings; only this is transformed for the modern customs of 
lifes, and by severely symmetrical and regular plan of the wholes 
makes a concession to the new spirit. The building forms a sr- 
eat rectangle flanked by towers of 40 ft. diameter. Bach of 
these towers shows a different subdivision of the interior, 
while this substantially consists of one or two large living 
rooms with a cabinet, wardrobe and a separate stairs with an 
entrance. Likewise the front wing, to which a drawbridge leads 
across the moat, like thé two side wings, is divided into an 
number of livins rooms, each of which is connected with 9 ward- 
robs, but is separated from the rooms at its sides and has its 
own entrance. What value was placed on this arrangement of the 
interior in the chateaus of the time is shown by Rabslais in : 
the description of the abbey of the Thelemites, and is further 
proved by most of the chateaus then orisinatins. The three 
wings of the chateau considered above have only a ground story 
and are covered above by s terrace. Only the northern halves 
of the two side wings adjoining the main buildings have an up- 
per story. The fourth side in two stories over ths sround sto- 
ry with arcades forms the connection with the principal build- 
ins. In the two outer ansles these arcades extend in semicir-— 
cles, that are built as an open framework around sreat wind- 
ing stairways. Both winding stairs extend to the attic, there 
they end in domes with slender lanterns. Their exteriors are 
decorated by pilasters in the three lower stories, by slender i 
hermes in the uppermost story, that are not finished but are ~ ; 
only rough kewn. AQF these two stairways only the eastern, ; 

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75 
that leads to the living rooms of Francis I, is of the first 
building epock, while the western dates from the time o.. Henry 
II. On this as well as on the upper story of the adjacent wing, 
the details are also by far not so finely executed, but are 
rather heavy and stumpy, with rudely employed emblems of lil- 
ics and projecting columns. 

The most commendable part of the whole is the middle building 
arranged in the form of a keep, a square of 140 ft. flanked by 
4 round towers of about 62 ft. diameter. In the centre of this 
building rises independently on 8 mighty buttresses the famous 
double winding stairway, so arranged that those descending it 
need not meet those ascending. With its opened flyins buttres-— 
ses and slender lantern, on whose apex rises a colossal lily, 
it towers in the air to an imposing height above the roofs of 
the surrounding parts afidsths towers, sharply detached in the 
Splendid white limestone from the blue sky. Around this princi- 
pal stairway lies a great hall in the form of a Greek cross, 
or rather four halls repeated in each story, each with two 
fireplaces, that in an intelligent manner are not placed opp- 
oSite each other, in order to make communications easier. These 
halls are covered by mighty tunnel vaults in massive stone con- 
struction, in whose coffers are seen in manifold variations 
the salamander and the initial of the king. In proportion to 
‘the width of the halls the vaults are somewhat depressed, be~- 
ing executed as oval vaults, yest mey thereby have. produced 
an impression of comfort in the occupants. 

The four corners of the middle building lying between the 
arms of the cross es well as the adjacent towers are asain 
divided into separate livins apartments, each of which con- 
Sists of a larger living room, cabinet and wardrope. The 
principal room in the southwest tower is the chapel of the 
Chateau. All these living rooms have their ssparate entranc- 

8 in little windins stairs, but are again directly connected 
with the sreat hall, that on its part asain in seneral is acc- 
essible by the principal stairway and by side galleries carri- 
ed on the towers that connect with the two outside wings. A 
larger chapel is arranged in the outer tower of the northwest 
angle. This is briefly the subdivision of the chateau, to which 
cannot be refused the testimony, that it corresponds admirably 


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76 
to the requirementr of the life of this time, although these 
are forced wonderfully enough into the forms of a departed 
epoch of civilization. 

“Now as for what concerns the artistic treatment, this ton- 
Sists almost exclusively of elements like the antique as at 
Blois. The principal parts of the building show three stories, 
animated by windows with single or double cross bars. The win- 
dows have horizontal lintels, excepting the three round-arched 
windows that lisht the middle hall in the upper story. The sub- 
division of the walls is formed in all three stories by a vert- 
ical system of vertically connected pilesters and horizontal 
belts. Although now on their capitals the most varied inventi- 
on and most delicate treatment of the reliefs makes itself felt, 
yet all this does not sufficiently animate the severe monotony 
of the subdivision, that extends in tedious sameness over the 
entire. building. ven the rich crowning cornice, that indeed 
repeats the chief motive of the beautiful cornices of Blois, 
consoles and round-arched frieze, but not in such organic con- 
bination, and an added rather too ornamental balustrade, are 
unable to remove that impression. ‘ 

But the monotony becomes even more pebeebuibey by the exces— 
Sive abundance with which the high roofs of the middle build- 
ing and of the towers with their lanterns, with the exhaustive 
dormers in mere variations, and their tall crowning sables, 
likewise the chimney caps ¢xecuted in the most varied forms, 
and finally the principal stairway with its fanciful lantern 
towering over all else, are overloaded. As by the most compli- 
cated Gothic buildings, the eyes are completely bewildered by 
this éxcess, and the unprejudiced observer must confess, that 
an architecture which awards the prize to the chief parts of 
the construction or to sobristy, in order to raise subordinate 
parts to the greatest unsuitability, turns itscback on beauty 
as well as truth. Wonderful enough is still another decorative 
element exclusively employed on the pilasters and cornices of 
the bay dormers, as well as the chimneys of the stair towers; ‘ 
the numerous trapezoids, circles, semicircles and triangles i / 
inlaid in dark slate in the surfaces, that makes the richness | 
of those parts still more slaring. It is well known that this 
is an ornament that only serves Venetian art and that of upper 


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4 
Italy dependent upon it. 

Manifestly we have to do with the work of an architect, who 
came from a native school but desired to give proof, that he 
was 2 complete master of the new style, and was able to wrest 
from it the fanciful charm of medieval architecture. As recent 
investigations proved, this architect was P. Nepveu, called t 
frinoeau, who was expressly designated as master of the works 
at”the chateau of Ghambord.”. Moreover Chambord was never enti- 
rely completed. We already refer to some parts executed later. 
The ground story everywhere shows the refined forms of the time 
of prancis I, also the entire principal buildings of the north- 
east wins occupied by the Kins himself. The upper story of the 
northwest wins on the contrary exhibits a later tine by its 
more stumpy forms and the ruder execution. Besides Henry IT, 
Louis XIV. caused the building to be extended further. by: wans- 
art. The chateau was devastated in the Revolution like so many 
others. Not msrely was the magnificent furnishing destroyed or 
stolen, but the rich fireplaces were torn down and broken, and 
even the costly tapistries of Arras were burned to recover the 
gold and silver threads. There is now in the interior not a 
vestise of the old splendor; only the vaults of the great hall 
and certain rooms with depressed arches but erected in the 
most solid construction, show in their coffers reliefs of ex- 
treme refinement. The sreat chapel in the outer tower is ear-. 
nest and simple in two stories decorated by wall columns. . 

23. Ghateau Madrid or Boulogne. 

A great contrast in the same time will scarcely be found than 
chateau Madrid in comparison to Chambord. Francis I caused at 
to be erected in the vicinity of Paris in the middle of the 
forest of Boulogne about since 1528. It generally reeeived the 
name of Madrid, not that it was really so named, but in memory 
of the captivity of the king or even in imitation of a chateau 
found in the vicinity of the capital of Spain; but more proba- 
ble is the opinion, that this nickmame originated by the satire 
of the courtiers, when the king with a few intimate companions 
withdrew from the court to live in their socictw in the chate- 
au of the forest of Boulogne. Of this magnificent building, a ; 
arranged and furnished with the most refined sense of art, no | 
stone remains on another. The Revolution leveled it with the 


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78 
Sround. Only to the drawings of du cerceau do we owe an accur- 
ate knowledse of it. 

Chateau wadrid was what the Prench term a manor, i.e., a sm- 
all country residence erected without towers and keep, that as 
2 rule also lacked the court. It was entirely so with this cha- 
teau (Pig. 34). It formed a rectangle of 250 ft. wide by 95 ft. 
dscp. At the four angles rose projecting square pavilions: two 
square stairway towers divided the two longer facades into th- 
ree equal parts, while a round stair tower rose at the middic 
of cach end. Between these stairway towers and the pavilions 
were arranged arcades on piers with projecting half columns 
in the two principal stories, sufficiently spacious to permit 
easy communication, but not so deep as to destroy the.lisht 
in the windows furnished with ouble cross bars. The middle 
parts of the two principal facades has in its entire width a 
flisht of steps A, that leads to a strongly recessed arched 
passage of considerable depth (12 ft.). This stately portico 
forms the entrance to the great hall, that with its length of 
about 65 ft. and width of 28 ft. sccupied the entire middle 
portion of the plan. This hall with its arcader is repeated 
in the upper principal story. Then follows a smaller story, w 
whose rooms ame connected together by the terrace resting on 
the lower arcades; finally a fourth story of moderate heisht 
like the preceding, also like that contained suest rooms. Bes- 
ides there wes a low Sround story, half in the ground and cov- 
ersd by massive vaults, which comprised the kitchens and other 
nouseksepins and service rooms. With true intellisence the ar-— 
chitsct so orientated the buildins, that ths main fronts did 
not exactly fece the north and south: thereby the hall and 
most other rooms had a refreshing coolnsss in summer and much 
Sunshine in the colder seasons. 

Corresponding to the customs of the time, the arrangement of 
the interior was in careful utility. The sreat hall B was heet— 
edcBhy two magnificent fireplaces, and had at one snd a smaller 
hall B’twatiserved the king, when he desired to withdraw from ; 
the society. In this hall rose at 0 a great fireplace, behind 
which was arranged a passage D and a stairway + in the wall, 
by which one could unssen reach a room like s chapel lying 
over this part. These two rooms toggther had the height of the 


e 


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* ence Bauct os 
“bien & dtiz ok 
es Foosewoss See nok! 
seeds to dose Seotbest 
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bated Jpodtiw 
ead SEW Ero”4 
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79 
main hall, which amounted to about 22 ft. This side hall was 
further connected with the external arcades by separate entr- 
ances. The remaining parts of the two principal stories were 
intended for separate apartments. In each wing are found some 
sreat chambers F with fireplaces, each connected with a ward- 
robe H, partly arranged in the corner pavilion and throushout 
fully connected together, and with the porticos. Gach of these 
living apartments could be separated from the others? each was 
in direct connection with the portico G and the stairway I, as 
well as with the main hall, so that the occupant without being 
seen could so out or in. The connection of the rooms was thus 
as pleasant and convenient as possible’ the architect then ad— 
hered strictly to the coincidence of the axes of the windows 
and arches in the middle portion, though not rigidly to the 
ruls for the wings. On the other hand he placed the doors of 
the apartments close to the windows, so as to obtain .as much 
unbroken wall surface as possible. Pinally it is yet to be 
noted, that also in the open porticos the force of the wind 
was interrupted as much as possible by the projectins stairy— 
ay towers. This chateau must thus be termed a model of a prin- 
cely country seat of that time. 

The elevation of the whols, whoss middle portion we sive in 
Fis. 85, shows a combination of Italian and French concepticns, 
thet is here as successful as it failed in Chambord. The high 
roofs that cover e@ch principal portion, the domical terminat- 
ions of the windins stairways, the dormer windows of the mans- 
ard story, and the sreat chimnsy caps belong to the national 
traditions, but they were reduced to the measure of the need, 
and did not become objects of a fanciful hobby. Likewiss the 
windows with their stone crosses and the construction of the 
vaults belons to the native architecture, all else on the con- 
trary was imitated from the Italian Renaissance with free und- 
erstanding. This is true of the arcades with their elegant pi- 
ers and columns, their richly profiled and coffered arches and 
their medallion panels, of the elegantly ornamented friezes a 
and the varied architraves of the windows, by which seach story 
has its separate charcater, and finally of the crowning of the 
doors, that mostly exhibit a pediment with recliniug figures. 
The most splendid decoration was received by the building by 


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80 

the rich use of slaged and colored terra cotta, for which G, 
della Robbia was expressly brought from Florence. This masn- 
ificent ornamentation was employed on the friezes of the prin- 
Cipal story and the medallions of the arcades, as well as on 
the coffers of the ceilings of the porticos and on the floors. 
Du cerceau gives some examples of the coffer plaques, that for 
beety of drawing and richness of invention are wonderful. Wean- 
while when the learned Viéliet-le-Duc expresses the judgment, 
that this use of Slazed terra cotta on the exteriors of build- 
ings is a new idea due to Francis [, he forsets among others 
the facades of the Innocents at Florence, of the hospital at 
Bistoja, and most of all the oratory of S. pernardino.at Perugia. 

Also for this building it is strongly disputed, whether it is 
due to an Italian or a native architect. Thanks to recent inves-— 
tigations, we know that it was a Frenchman, P. Gadier, who des- 
isned and executed the building. Count de la taborde unjustly 
reduces the honest “master mason”. to a mere practical superin- | 
tendent of works when he states:- “G. della Robbia was the ar- 
tistic creator, the man of genius and taste, P. Gadier was the 
subordinate workman, but in reality the actual constructor.” 
This hypothesis vanishes completely in the air; even Vasari 
knows only of the terra cotta and stucco work with which della 
Robbia adorned the building. All these works that in sreat part 
belonged to the interior, du Oerceau sives in abundant examples. 
He has represented the two fireplaces of the great hall with 
the door lying between them, the great state fireplace of the 
sids hall and also several fireplaces of the different rooms. 
In these are not merely surprising the richness of the decora- 
tion, the lavish use of sculpture and painting, the diversity 
of arrangement, but even & conceivably prominent preference for 
pompous, even for Barocco forms. Particularly came into use 
caryatids in very ugly forms like hermes. However since the 
internal decoration was first composed after thse death of. Fran- 
cis I by P. ds 1’Orme and later by Primaticcioc, we must assisy 
@ portion of these works to this later time. We shall only re- : 
mark, that the richer fireplaces have above them a sreat niche 
with & pediment intended for a statue, but on the contrary oth- ‘ 
ers a panel evidently designed for a painting. On one fireplace 
this is adorned by a paintins of the abduction of Europa. 


5 wD ed iat yas en (HEEL nd Bott a ebed «9 
| OfL eb pelh snendonent eter diod ead? .asek noe uit 


oc Stiaca atiss beenvso tert? ideekpenkss -aehomsd © aqode 
Who xtivee done svik cao butbiind sedto on ego yne nl .nisks 
Wht) eaebiind yleontag potvol-t1e ett to oti! esemisat’ ont 
OMe T 6 t sbacidestatoo® Yo nasdedd obs 
sigetaqgeco ens bus sosenltni eft bawot ak widitqeoreg teok 


=i i bebsegss ed yam gedd ,naodado eff ga etetiang neiLasI to | 
- badiong®: elds to vxsudn. Inqdouleg inkéocant.teom ait 26: 


fat wissris new naeidenietno® .1 efomhas Yo ncivesso odia 
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1 teow edd to sno Iligde .ésetck; teeth baiadoddatca edt ck 
it dfind od ot feqedo 5 heepac IV ekacd .senect ai Let 
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ft at sano ‘nispiteM, ood Helileo af doifn Yo cotvses add of 
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Samia fo wreadgl death oft to atend edd omaoed 19 


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feyot @ of eltzec Inventhom cit betavels ¢orik.l 


Dyerebiind eecennt vidt te nely ad? exsbigneo eno TT. 


(88 lash) 2: BYE suede of edsvome dthnel of ¢ne 
\ A dameo Leve bsileo-ce got tadt .yiicelopersi sti 
| Bebaronace ei dunde eid? santblind od? Io dneq deshia 
sbie snbic eds elidn ,emoo1 So 20itee efdoch 2 yd gel 
S fasohyloq dtix C fecedo efdgob 2 yd hima nite yiteisdo 
i te yteiist balfleo-oe* eds (0 Lisd-e« Boe (migentss <8) 
sive Hewtol een noijenimied odt anid e*nseored gb al “VII 
‘og Gordv mort .(td .e22 mt &) Legedo edd ot secfo les Lave 
yaa : btat aon Qnideixe sort eddysevo'heerag sao osbindiwerh 

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cane 


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me. 


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eh mpagrebeds sod a0 bee feqado ‘end obieed & ct sodtret 
aren i 28id sede! aot abnolsd eefwedit{ Jnenskislae se 


eet -gaodK: bas ."sconitg edt Io d1n0o” edd ano Bkaotrs 
a zon BT ‘att #3, ceo. “anise bo Phare aac ead eakagaoo ¥ 


# BAS. vd -¢i ONS Jo drpoo etavpe ylraen 2 Boizelone abadK 
pepebneixe af nedy .duven Isvo edd fenedtyes! ople WI vive . 


o edt Qo Stef cas te dodidw ,egaiblned Yo & qnoty odd fo... 


Pa ae 
oe 


81 
P, Cader died in 1531; he was succegded by G. Francois and 
his son Jean, thus both were Prenchmen. Also de 1’Orme employ- 
eda native faience artist, P. Courtois, fromithe famous work- 


shops o: Limoses. Primaticcio first caused della Robbia to come 


again. In any case no other building can give such a view of 
the intimate life of its art-loving princely builder... 
24. Chateau of Fontainebleau. 

Most perceptibly is found the influence and the cooperation 
of Italian artists at the chateau, that may be regarded as one 
of the most important principal works of this epoch, the favo- 
rite creation of 5 ;rancis I. Fontainebleau was already in the 


12 th century a royal castle, that owed its orisin to the hunts 


in the neighboring sreat forest, still one of the most beauti- 
ful in France. Louis VII caused a chapel to be built there in 
honor of S. Maria and S. Saturnin. S. Louis founded a. second 
chapel to the holy Trinity and a hospital close to-his castle, 
to the service of which he called the Mathurin monks in 4259. 
Fontainebleau was early the seat of a royal library, that lat- 
er became the basis of the sreat library of Paris. But Prancis 
I first elevated ths mediaeval castle to a royal palace, that 
sought its equal in extent as in magnificence of furnishing. 
If one considers the plan of this immense building, whose ext- 
ent in length amounts to about 1476 ft.(#is. 36), he sees by 
its irregularity, that the so-called oval court A forms the 
oldest part of the building. This court is surrounded at the 
left by a double series of rooms, while the right side is 
chiefly enclosed by a double chapel D with polygonal ending 
(S. Saturnin) and a hall C, the “so-called gallery of Henry 
II.” In du Cerceau’s time the termination was formed by an 
oval hall close to ths chapel (J in Fis. 41), from which by a 
rawbridse one passed over the then existing moat into the 
buildings H, which later under Henry IV. was extended into three 
wings enclosing a nearly square court of 279 ft. by 258 ft. 
Henry IV. also lensthened the oval court, when he extended it 


farther to & beside the chapel and on the opposite side. Anoth—-~ 


r enlargement likewise belongs to a later time, that consists 


of the group J of buildings, which at the left of the ovalcourt 
extends around the “court of the princes”, and whose front wins 


K contains the “gallery od Diana”, 295 ft longs. If we return 


‘ 


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; 


i,’ 


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t* ; tie y 
ni otede Bait e F pales re 0 pitas! ert 
peste a § wenct exegos & fre 

se edt mort Bontese: otek eteng incont 
eets éxe00 odd to deaq awebio side 
Oona moo-etew teddy .enuploo no . 
: wots ana eas ni. Bec 


ak senetiae 


~ 
ie ss 


. 


oetong & YO 
eploo tied 

iavistsés 
~Ict e 

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ierepe atest, sebes ce 


BH89° 


fs ee 
0 be wat thd 


a tae hy. 
"i 
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82 
to the oval court as the centre of the plan, wo find there in 
the middle of the front end a squars tower E, the old keep, w 
whose walls and the adjacent parts were retained from the ear- 
lier mediaeval plan. Before this older part of the court lies 
in the ground story an open arcade on columns, that were. connec- 
ted by an architrave. Above them is found in the upper story 
a terrace for connecting the rooms. At the former entrance in- 
to the northern rooms, this arcade is interrupted by a projec- 
tins building in two stories, resting on pisrs with half colu- 
tins like a logsia. Its arches (Fig. 37) are partly semicircular, 
partly of depressed form, like the other parts that show a tol- 
erable understandins, and therewith a free imitation of the an- 
tique style of architecture. 

If in these parts the retention of the old plan caused the 
irregularity of the sSround plan, the resularity of e11 other 
portions shows that they were built anew. First was added to 
the older portions, particularly to that square tower of the 
middle ages, another wing N corresponding to the lonsitudinal 
akis of the whole, that continued toward the north a series of 
rooms with the“sgallery of Francis I”. on the south, 191 ft. long. 
at the end of this and at the right ansgis projects a transverse 
structure, that on the left contains the entirely rebuilt chap- 
el of the Trinity 0, adjoinins which are several livins apart- 
ments and a hall T for playing ball, at the right being the s 
stately arranged living apartments P, to which Pius VII was 
assigned as quarters during his imprisonment. Before the mid- 
dls of this transverse buildins 433 ft. in lensth lies the 
famous horseshoes ramp steps R. 

Corresponding to this western wing was erected at the other 
end of the gallery of Francis I a third wing L with a double 
flight of steps, that contained the theatre. The southern side 
court originated in this way, and is called “court of the foun- 
tains”: because on its lLonsitudinal axis as a splendid point of 
view from the gallery of Francis I is a fountain and the basin 
of a great fishpond. But with this cnormous extent that enclo- 
ses four courts, ths construction was not yet completed. Fran- 
cis I already added a fifth court S, the “court of the white 
horse”, so-called because its centre was iccupied for a long 7 
time by the plaster model of the horse of the equestrian stat- — 


D tedenoo’ seat egnk 
Sek: de te yIose fteoge of 


mo Ia 


enotitves exiz 
my 884d, otece 
<32t to svete: ta 
“om ,eéedw sad 
-ecacbiess bread 


WBanore tson ggoh!s 
Pe866eq 2 to acteacoo edé co usete 


r a . 
fagtoniag 2a: anoo tein 
5 

» eg? ot Si haahee’ 


> an 4 


= sSyv ¥D wee vid 


eenree & » bf + 
se oe SS Sa 


eeinon 
+38 .senis 
© ptednes ai 


sbigieai s 
pte ‘sii pda ts 
Py) benbter: ede a 
Bet ‘aottqeoze edd <a 


bie (ene tod evad. 
SS argemeld 


77 © B 
ww 


saeo bo 
BLO i 


M\ sbrodessic bas 


oa OfC% Cee we Dea) 
: on has 
et 


D 


83 

Statue of M. Aurclius. ft is the largest of all, 541 ft. deep 
by 361 ft. wide, enclosed by low winsgs,that consist of a sround 
story and attec, to which is added an upper story at the south 
side. At the middle and the angles of this wing rise pavilions 
with hish roofs to break the uniformity. We add thereto that 
extensive beds of flowers, parks and magnificent alleys of tr- 
ees, pools and fountains then already surround the whoke, so 
that an approximate idea of the extent of this srand residence 
is given, Charles IX caussd to be exéavatédsacddesp moat around 
the principal parts of the chateau on the occasion of a peasa- 
ants’ war, which separated the outer court from the principal 
building, so that one formerly passed by a drawbridge to the 
main stairway. Du Cerceau draws this moat, that however was 
later filled. 

If one now without prejudice compares this famous building 
to other chateaus of Francis I, he must admit, that it nowise 
corresponds to the fame enjoyed by it since earlier times. Ex- 
tending more in length and breadth than in height, it nowhere 
presents to the eye a mighty total itpression. It is not so 
fanciful as Chambord, but rather borders on a certain insipid- 
ity; it has not the sraceful charm of the relief details of 
Blois, nor the picturesque ones of Madrid, but the refined 
treatnent of forms inclines to dryness. With the exception 
of a few pavilions, all parts of the buildings have but one 
story above the ground story, and even the attic story, such 
a favorite in Francs, was not employed here throushout; but 
whers where they occur, their windows show @ more ssvere trea- 
tment more like the antique with straight or curved caps, far 
removed from the fanciful diversity at Blois and Chambord. In 
brief, the luxuriant play of the carly Renaissance is at #n 
‘end, wibhatPFonta nebleau begins the predominance of Italian in- 
fluence. Connected with this, the stairways here are mostly 
no longer arranged as winding stairs in projecting towers, but 
are placed in the interior of the ‘buildings. 

Mostly the fresh charm of the sarlier time appears in the p ; 
porticos of the oval court. Particularly the capitals vary in 
charming invention; crouching children form the angles, while 
the surfaces are filled by the initial of Francis I, by crown- 
ed salamanders, festoons of fruits or elegant acanthus leaves. 


wy eee Pe 
Seivert; 


420. Huns (ivan fe 
ea C}.f:) eeltrod te ond’ 32 
DS tiseks vist sate 
din ewchniw aonel 
SEadcoq sehios” 


leet 9 cad base 
+) Beeofone: co Ei lebo 
wie dtod te tiast 
eas to sheost ats 
feextsd esisode 
Gis efient vyerri 
Root pre's S02 bei 
“tied 2 Fa: re Sf 
cio phl 
pont yd Belli 
ey & mt: sees 
ebyedtalty yd 
- eoles exe. tesliase 
ben ent yd ae 
gedt Sintwae edt ta) 
b toed is inte nekiet? be 


i 


\tiwemd eno sadt ,ncee 


Bguct! 
er sscssossos1s biviv 
4 end e1cted VI 
7 ges; ade shc 
— Seiten ,soctus 


t 


Hazsesoos geo1m Lien 
‘i pidoidw osotss daneon 
Bases as asididxre 
rose. Leaein edd nt. 


pate Vy 


7) Tee Se ee 


. 


84 
(Fig. 19). Likewise the capitals of the pilasters on the sreat 
tower and on the dormers exhibit diversified invention. The 
Sane treatment is repsated on the so-called “pavilion of jain- 


tenon”B, where moreoves for the first time two stories are rep- 


resented as one by means of colossal pilasters. Usly enough are 
the intersections of the gabled caps of the lower windows with 
the parapets of the upper ones. The so-called “Solden portal” 
of this pavilion, ths chief portal of the chateau in the time 
of Francis I, opens externally with an oval arch and has a re— 
lief in its tympanun, the salamander in a medallion enclosed 

by garlands of fruits, accompanied by female genii at both si- 
des. To the best parts corresponds the southern facade of ths 
oval court, which contains a sSallsry in both stories between 
the chapsl of S. Saturnin and a windins stairway inside the 
facade, below for the garden and above intended for a ball roon, 
which opens externally with colossal windows 12 ft. wide betw- 
een pilasters (Fis. 33). In the upper story.in a somewhat loo- 
ser composition the intervals of the arches are filled by med- 
allions with emblems of Francis I. To the stairs placed in a 
pavilion leads a doubled portal, low and flanked by pilasters. 
and crowned by an antique gable, one of the earliest examples. 
of this kind, whose effect is placed in question by the wond- 
erful middle ornament of the sreat fisures at the angles. That 
this facade was by no classically trained Italian architect is 
undoubted, but was by a French master mason, that only knew t 
the antique by hearsay. 

This style is substantially simplified on the facades of the 
court of the fountains. The principal facade of these, which 
contains the gallery of prancis I, has a ground story of rust- 
icated piers set close together in pairs, and connected by op- 
Gnings like niches, but the separate groups are joined together 
by Simple arches, whereby is produced a vivid elternation. This 
portico however was first built ander Henry IV. before the buil- 
dins of the time of Francis I. It is now orisinal, that over 
the arches she upper wall shows a closed surface, while above 
the niches open between pilasters on the wall great rectangular 
windows. The sastern facade afdthecsamescourt, before which ex- 
tends ths doubled steps to the theatre, exhibits an architect- 
urs of similar plain dryness, rusticated in the ground story, 


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pea etd ton bae spots 


dee : 


bt eds dotits ba Hid \ 4% ae OE: a&o, 


- 
* ge r > 


ei. 
85 


‘ in the upper story being Doric pilasters between simple windogs, 
instead of which niches occur on the middle buildings. Also thé 
dormers, developed at the middle into a dominating sabled str 
ucture, evidence a characteristic simplification of the style. 
(Fis. 39). Another gallery, called the “gallery of Ulysses” 
from its famous painting executed by Primaticcio, uas. taker a 
destroyed under Louis XV. 

Accordingly if the exterior of Fontainebleau could not comp- 
are in refinement and richness of treatment with the other cha- 
teaus of francis I, on the contrary 411 energy was placed on 
the decoration of the interior. For such decorations hed been 
developed in Italy a style, that had come to the most luxuriant 
development by G. Romano in particular. He combined the richest 
usé of paintings on ceilings and walls with stucco work, that 
exhausts every sort of creations from relief to free sculpture, 
with which was further combined wooden wainscot in richly car- 
ved work with splendid ornamentation in color and sildins. (Pig. 
40). But this ornamentation soon degenerated into a heaviness 
and an overloadins, of which the gallery of francis I affords 
a striking example. In this confusion of details, that seex to 
outscream each other, these pictures that are not merely enclo- 
sed in richly carved frames, but also by garlands of fruits, 
by wonderful cartouche work with sportive genii, athictic.human 
forms, by hermes and caryatids, pans, angel heads, masks, in | 
brief by the abortions of antique and Christian mythology play 
around, the eyes lose their hold and roam around helplessly w 
without finding a point for rest, from one to another. Only t 
the curved wooden ceiling is distinguished by good subdivision q 
and preferably by the noble style of the ornament. Gertainly a 
palace was never erected with a sreater expenditure of artistic 
means, and the general appearance of these extended but low : 
galleries, that under Louis Phillipe and the new empire were . 
asain restored with unlimited ¢xpenss, ars of incomparable ef- 
fect; but if Brancis I sought to brins here the best powers of 
his time, then it was only his nisfortune and not his fault, 
that this already brought with it the full decedence of Italian apt 

lien have much disputed, whether the parts of ths chateau er- 
ected by this kins were due to French or Italian architects. 
The detailed decree of April 28, 1528, in which the king reg- 


ut Ni ra 4 \ ts * 
Jd oA iP ids Late tii ae ok | 
‘ ps i a EG 
. 6 be rib hevoene: ty of ebathlicd won etd au 


, oblae2 s Saey snes dit ct gedt went ov 


Lind, edé¢ begodtiactis yitoowibd need 
sboxoLgue eo” add amrco? fee eed tod 
baieo, doom ce sidisxe | 


aa 
a; 


‘sith Bis Br gadis 
~oetdue on gedit. 


D guedtigq tiie 


, bltever 
N . dokdw ah 
f.-tedzo bas 
- Witevee vib ¢ 
papyeant sein > 
pane oF eds 


« 


, ol san 
Ov CLR OLB 


Aenmrte PF ex 


Wiwiew ce LL Wel 


age ae webeoela nf 


86 

resulates the new buildings to be erected sives the names of 
no artists; yet we know that in the same year Serlio was called 
and to him have therefore been directly attributed the buildi- 
ngs around the oval court. But the art forms there employed, 
particularly the columns of the arcades exhibit so much origi- 
nality ir treatment, that we can only regard them as the desi-—- 
Sons of French artists. Contemporary Italians had employed the 
fixed scholastic antique orders. Likewise in the forms of the 
mouldings and of other architectural members the antique forms 
were truly used in detail with intellisence, but were ‘combined 
‘in such a capricious manner, and especially the pilasters were 
‘arranged to without any system, that an architect ‘is recognized, 
that had indeed studied the new style of architecture, but had 
not attained a full understanding. fhe prevailing freshness and 
abundant imagination of the carly Renaissance are no longer at 
command; for tthe severely classical treatment, that had pre- 
vailed in Italy, its architectural form does not suffice. Aga— 
inst Serlio’s authorship is directly ‘the fact, that in his kn- 
own works is found no indication of this kind, that he subjec- 
ted the ballroom to a sharp criticism, that was built without 
his assistance, that he had siven his own design for it. On 
The contrary it is probable that he must be regarded as the 
builder of the facades of Fontainebleau, since there prevails 
that more scholastic, simple and severe architecture, which 
about that time was raised to a principle by him and other 
Italian theorists, with its disnified but rather dry severity. 
He appears as “painter’and architect of the kins” with import- 
ant payments in the accounts of fontainebleau until the year 
1550, when he remained in employment till the end of his life. (156 

But the same artists, who conducted the most essential part 
of the equipment, the decoration of the interiors and particu- 
larly of the galleries, were first the Florentine Rosso (“mas- 
ter -Roux*), who was called about 1530, and who was engaged un-— 
til his death in 1541 on the paintings aiid stucco work, espec- 
ially those of the gallery of Francis I. But already in 1581 
Primaticcio was also ensasgsd, who was however sn strongly thos— 
tile to Rosso, that the king was compelled to send him to Ita- 
ly with orders for a lons time, indeed we sce both separated 
by themselves, busied together with numerous assistants. Yet 


‘ 


e n 
J 
: p 


t * 
Wit 


to toe nf efor sft bevie 608%. 

po to pe : yorrseh 

“s ‘Qo e028 usdenuz es oft 4 Sao ae ae 

NC ney @dt' nt deeb ek | | 
: . 


as @ 


>, 


I sigaord ‘ease 


97 
after Rosso’s death Primaticcio received the sole direction of 
the works, when he began at once to destroy a number of the 
works of his predecessor. Even under the two successors of 
Prancis I he continued active until his death in the year 1570. 
He was aided particularly by Niccolo the abbot, who painted the 
later destroyed gallery of Ulysses and the ballroom. §t first 
there were chiefly Italian artists, who cooperated in these 
works. But besides them and some Flemist masters we find in 
the accounts a considerable number of native artists, who were 
desisnated as painters, stucco workers and sculptors. This is 
the school of Fontainebleau, by which the Italian taste was e 
slevated to exclusivs domination in France. 

Wnfortunately these Italians brought in mannerism with all 
its excesses, to which after Raphaecl’s death most Italian scho- 
ols save themselves impetuously, and here in a foreisn land, 
where their creations were wondered at as the hishest manifes-— 
tations, they fell into such sreater barbarisms, when no rest- 
training influence was at hand to check them. Rosso pleased 
himself by the imitations of Michelangelo, in dashing foreshor- 
tenings, strained poses and movements, thus Primaticcio differs 
still more by the affected srace of his too slender forms, in 
which the Prench yet always liked to see “Grecian charm”. Con- 
sidering these works full of monsters and excesses brought in- 
to being with such pincely liberality and such Sreat means, ons 
can scarcely evade the thought, how much more tasteful results 
the art love of the kins must have had, if A. de Santo had re- 
esived the direction of these Sreat works, instead of the dec- 
eption of the monarch by their frivolity. 

25. Buildings documents of fiontainsbleau. 

For the architectural history of fontainebleau, a series of 
documents are of importance, the merit of havins published then 
being due to count De Laborde. We find a decree of the kins of 
July 28, 1528, in which francis I expresses the intention to _ 
cause to be erected several buildings in Fontainebleau and in 
the forest of Boulogne. Another royal order of Aus. 1 of the 
same year, dated at Fontainebleau like the former, repeats 
the contents of the first and extends t§em to“two other places 
of hivry”. But of most importance is the longest and also the 
earliest of these decrees, siven on Appil 28, 1528. .It contains 


4 
. 
f 
; 
J 


} Pi. P) Be yt, 4 i 
> i «, i ‘A ‘a 


f 


; netecsatt wait act ‘enotte 
s woah ape eevet bas Scans 
iy ens to satenenth 
Bs flew. sa ,fser ¢ 
4 move tad’ bext? xi 
| - etid ai uaeyvabon: 
. dasa issutoeiiso 
“page, atedd: déix 
S Bite eexicboos: 
Lind eat wos .acnon 
m2 ea0 Bas ,is200 & 
\ af af eexitenoc gett 
ie \ipsas nk daeq ve 
ost ot gnihicoos*40 
efor Bes. spe 
|) 108 itsaiee 


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CW aha 


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‘eae sicted 


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88 


the most exact instructions for the.dimensions, form and execu- 


tion of the new building and takes care in fixing certain poi- 
nts in such detail} that not merely the dimensins of the sepa- 
rate rooms and the kinds of materials to be used, as well as 
to be intellisible or itself, and are exactly fixed, but sven 
the thickness of the walls and the degree of reduction in the © 
upper stories, the forms of the different architectural memb- 
ers, and even the arrangement of the privies with their seats 
and openings for removal are prescribed. One recognizes with 
increasing interest from the detailed statements, how the buil- 
ding was the matter lying close to the kins’s heart, and can 
follow the progress of the work step by step. Sometimes it is 
said in general expressions, that this or that part in the 
statement shall be executed “in the best” or“according to the 
best judgment of the master”, or“as it pelongs”. But as a rule 
the wishes of the king are stated in detail and exactly. Bor 
example it is said of the external piers, that they shall be 
“ornamented by capitals in good fashion”. Of the wall piers 
it says; “which will be furnished with counter pillars bear- 
ing base and capital, architrave, friezs, cornice and pediment, 
aS it requires”. 7 

The construction begins (fis. 41) at the south side of the . 
oval court A by the removal of the lod portal, instead of whi- 
ch is to be erectsd a new one (the present“solden portal”),in 
@ square pavilion 8B, whose dimensions are accurately given. 
The number of rooms required and the thickness of the walls a 
are fixed, but on the other hand the heights of the rooms and 
the width of the portal hall are felt freely to the judsment 
of the architect; “that will be done for the best”. fikewise 
the two smaller pavilions, which enclose the longer one are 
accuratsly designated with the dormers. The view that du Cerc- 
eau gives of this side agrees perfectly with the description. 
Quly the portico of four columns, that wes to rise before the 
pavilion in three stories, in ths two first stories with hor- 
izontal sntablatures, in the uppermost with depressed -.arches, 


was not constructed. Toward the court side should then be built 1 


2 winding stairway of 10 ft. diameter in the angle between the 
pavilion and the part adjoining it at the east. Also the portal 
of this stairway is exactly prescribed; it is that represented 


i, ae ‘ pm be ; 
i“, | ia Gat ’ : f Vey aie Le 
ica \ or y N Sy. 2 


y i NP Mei ee 


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839 
in Fig, 38 as still existing. Beside the great stairs shall be 
arranged a smaller one for the privies. Both are seen on our 
plan. Then the defective parts of the old walls are to be torn 
down and new are to be built. between the portal pavilion and 
the keep C of the old castle (the old great tower) shall be 
erected two “apartments for suests”’with two chambers, wardrobes 
and a hall in sach story. Then are to be rebuilt the three ap- 
artments D, #, F, at that side of the old tower, that are int- 
ended for the rssidence of the royal children, with halls, chan- 
bers and wardrobes in three stories. The outer walls to be re- 
tained, but improved. At the end of this residence is to be er- 
ected a pavilion H about 24 ft. square, like the first near 
the portal and like the old tower. Further four winding stairs 
are required in the court, that however could not all have been 
executed, or were soon thereafter partly suppressed by new bu 
buildings, since du cerceau does not show so many stairsays. 

Furthermore shall be built near the old tower a semicircle 
corbelled out on projecting stones (see the plan) and a windew 
ing stairway, that leads down outside to the garden. We learn 
that the living room of the queen lay in this part. Likewise 
from the rooms of the king must a stairway lead into the garden. 
Then is required a terrace on four columns in order to mask 
the entrance into the hall of the garden and the dwelling of 
the princes. This is doubtless that stately vestibule H in two 
stories, a portion of which we have given in Fig. 87. . 

However the most interesting part of the plan is that porti- 
on designated as the “Sreat apartments for suests”, which must 
contain a sreat hall below for the suard, above for balls. The 
dimensinas fixed for it, 84 by 40 £t., actually asree with the 
dimensions of the hall L now known as the “Sallery of Henry II”. 
(Fis, 38). From this hall must a winding stairway lead down to 
the garden, and beside it is to be left a space 36 ft. wide for 
the arrangement of a chapel K. It was now required between this 
place effta chapel and the portal pavilion to have a “series of 
apartments for guests’with four service rooms, two kitchens a 
and a robing room for the sacristy, then we can only understand 
that originally was intended a different arrangement, than what 
the plan now shows. In any case the chapel of 8. Saturnin was 
undertaken later, for the keystone of the vault of its choir 


a 
om 
; a4 
oa 


gi betelques eew Segedo od Ke “aonts yd qnead 
* Boe mcoslle dant TE Gate Iee8l etonat? sebss 
: e eft nt dsdt uodase ef stenne m Boivouggesth 2 at 
‘poem een .8d a8 a {eyou! oft faotxy itty ne soafsq edt te 
te bee tan0d oft a0 


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Sa OMB fot 
4 ti, 7 
biang f 

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etal 
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“minosace ea noean” seteze 
t to tod: ins odd ed ton 
a edt ri ybaseir 


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gO 

drawn by Pfnor indicates that the chapel was completed in 1545 
under Francis [Serlio speaks fully of the ballroom and indeed 
in a disapproving manner. He states that in the second court 
of the palace on which extend the royal apartments, was arr- 
angesd a lossia, which at one side looks on the court and at 
the other on a srceat sarden. At one side of it are the printe- 
igiapariments, at the other is a chapel. He continues, “this 
logsia is so arranged that it has five arches 12 ft. wide and 
the piers are 6 ft. thick, but I cannot say to what order this 


- apchitecture belongs?.He further tells, that for 30 ft. width 


of the room and a heisht of 16 ft., it was desired to vault it, 
and was already commenced with the corbels, when a man of infi- 
uence and with more judsment than the mason came there, he or- 
dered the corbels to be removed and a wooden csiling to be ar- 
ranged. He adds,“but I was then present in the pay of the high- 
minded king Francis, aithough not in the teast consulted, I m 
made a design how I should have erected the logsi.” And now he 
Sives his design in plan, elevation and section, and a view of 
this severe and nobly treated Dorte portico with piers and gr- 
eat arched windows, which at once shows the sreat difference 

in treatment by an Italian architect and the works that were 
executed at Fontainebleau. As already stated, it is thereby 


' ineontestably proved, that only a French architect, one that 


bat superficially made the antique forms his own, without 
knowing their systematic use as this had become common after 
1500 in Italy, who could have designed the buildings in quest— 
ion. Who made the sketches we never find; as constructing mas- 
ter wa learn to recosnize Giltés: le Breton,“mason, stonecut- 
tsr, living at Paris”. Indsed he need not be the author of the 
design. After Aug. 1, 1527, this Gilles is already in the old 
abbsy of the wathurins, which Francis purchased in Order to set 
him into his works, as well as to engage him on the service 
dwellings of the outer (lower) court aidithe porters lodge. 
Also on Feb. 18, 1534, he received paynents for buildings in 
those parts] With him exclusively was a bargain made on the 
basis of the extended programme of the buildings in 1528. We 
only have to add, that also the great sallery of francis I at 
Mis mentioned in this programme. For it} is required 2 lénsth 
of 192 ft. and a width of 18 ft. It is decided to extend from 


— 


; on Lhe oR * Th ane et 
Hepa s obkvorg of Soa vedds eae od kewol fio eat 
fal shots esints¥ edd fo Leqeio ost enelidecd phe iat 
 ede02 ac? adnorsaege”: weit co fedsew well tp Oder od VEEL 
b edt base gan00 enol odd: seericd” net Bae faclliveg ont 
dood idowe bese wescieq™ ea exssqqa cifse2 «*yadde odd 3c se 
f hay gevisoes bn fb! (NS sonH go gerd “go4d) odd 

et#oy 963 20% saonyed. 
tad edt nett afoasize fokt eds ai esoiten gninieset ci? 

Wpottanooeb Lectetnt edd ateodts ftaq dsoxg nt etnnesos 7 |) 
“oqoue® of -Lleooe asi Satwoe oved ov fogstea ei sobnslds - 
) fos Ratt ec. to etacmisegs cit oF ofeles seo! .enkt 
ete sted “peteb tassaoyr! se6e. ods esteedame od yi 
mogsicty .6 6G .*eoovde to adeow bos emiot” GSEL seste 

eed 6SCh totis cetwedxti ,S6cr af edaow coonta ni ober 
ped Ts siz at beddow oiw“eneshow Sellen” .mtiie® «Wh bea 

Beemencastegs Si} sageoneo ylicido si {aiency nl .tonod Bic 
, ese sisducg nobiog odd ee {fen}es .meenp bao.gnhi saz 


ee: 


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Ob bevieoes od eciveh bos cinzs dose Tea, Yee 

bey fesugit & to acitvadacnetge: t)ebsel «0 yl! 


= 


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tt | 


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b.yldeoo bebaciad cate nodt gatceto a tasotitozen itt 
Wmodises 80 SRA inhi godd Saome hafthosi aoddae ip bag 
ae | "Soeved ent 


Hb lo elsow euotemen add habits iain ed .o2 i2oy oa, ath care 

BP O1ed Savor Sign teat .ontiatss hae orpdgiose sackoe 
bo eetseiiads edd of beosle yino son TE etonnts »,corieto 
peweeedoisg bed od dati .etostde eldtam enoitse seslden 
oa Gpisae sedic to ates escoid edaa oF exehre svey cala 
Bed? endT .202 e360 of ese cheoiterts9 alebea eeadm .fAtew + 
aga seis. teun dofidu),semid letoveo Soneitses 2t socios. te , 
Rolev™ us neaivasoe «, nosed. aa pemidamoe etaucgoe ed: at 


bt, : 4 . . ‘ % A J d ry Fant ‘a Mi j f \ : . 4 : ris . ‘ \s i 
> 1G ’ a vAbs an i a {i ve ' Te 4 ety ,? baer ii vy reer ; ne © 
COPE SE TEE, CER E YR Onn ane Ce PT RD I, re A 


ee ee Soe ee a ee ee ee ee 
‘ Ry ee MN licens 


91 
the old tower to the abbey and to provide a chapel at its end. a 
Thi. is doubtless the chapel of the Trinity at N. In the years’ 
15387 to 1540 Gilles worked on the “apartments for suests and 
the pavilion? and then “between the lower cousté and the clois- 
ter of the abbey”. Serlio appears as “painter and architect of 
the king” first on Dec. 27, 1541, and receives 4090 livres as 
payment for the year. 

The remaining notices in the rich extracts from the bnuildins 
accounts in great part concern the internal decoration, whose 
Splendor is stated to have sought its equal in Europe at that 
time. Most relate to the apartments of the king and queen. On- 
ly to emphasize the most important dates, there are mentioned 
after 1533 “terms and works of stucco”. D. d. Miniato.was en- 
daded in stucco works in 1534, likewise after 1533 Primaticcio 
and N. Bellin, “called Modesne”, who worked in the room of the 
old tower. In general it chiefly concerns the apartments of t 
the king and queen, as well as the golden portal. About the 
game time Rosso worked in the gallery of Francis I. At the same 
time men were busied in furnishing the chateau, and G. della 
Robbia makes an enameled medallion with a sarland of fruits for 
the portal of the chateau. pesides all this splendor there was 
not lacking the skill always then indispensable in painted gl- | 
ass. Already on Aug. 17, 1527, wastmade a contract with J. Chas- b- 
tellau, glazer, to supply all window glass for the chateau, b 
both white as well as “escutahsons, arms, devices and other 
painted glass?.for cach arms and device he received 40 francs, 
for each smaller or larger representation of a fisure, “tales 
and other enrichments”, in chapels and churches 20 frances. To 
the magnificent furnishing then also belonged costly tapestries 
and leather hangings, among them beins“skins of leather from 
ths Levant”. 

Finally are yet to be mentioned the numerous works of indep- 
endent sculpture and painting, that were brought here for dec- 
ovation. francis I not only placed in the galleries of Fontai- 
nebleau antique marble objects, that he had purchased, but he 
also gave orders to make bronze casts of other antique marble — 
works, whose models Primaticcio was to care for. Thus the cast 
of Laokoon is mentioned several times, which must then appear 
in the accounts, sometimes as Thacon,” sometimes as “Vulcan”, 


sqaye dnayete “* 


ras afew oi tools: 3% 084 wwt sletaog 
os Bebsotni cele ios edd yesrosd tl 
edtate of bed ded ati pay sols 
“Late at in Ifeod of 
Iebos edt bra 


BE 


eizon scr 


ry er a er 
eh ho et me 


’ Dae ahi FREE 
= eat LES VERO 
{ih > 4 o 4 
iy .etewod oni 


ade 0s singeoet of 


na 


c* 


92 
indeed once with“Cleon”. Likewise was the figure of the Tiber 
executed in bronze, and B. Cellini cast his elegant nymph for 
the tympanum of the portal. Furthermore Primaticcio made a mod- 
el for a female figure in pronze, that was also intended for 
2 portal. But also a copper Valcan occurs, thah had to strike 
the hours on the great clock of the chatesgu. B. Cellini incid- 
sntally made a new design for the main portal and the model 
for a colossal fountain for the court of the chateau, we know 
from his biography. pinally elso the oil paintings for the 
wardrobe doors in the cabinet of the kins may be considered, 
with which Bagnacavello was entrusted, as well as the water- 
color sketchas of the 12 apostles, that should serve es models 
for the enameler of simoges. The extreme richness of the works, 
as well as the great number of foreign and native artists of 
all kinds, who are found there for several decades, sive an 
astonishing picture of an activity, such as then could scarce- 
ly be found even in Italy, as extensive the abundance of desi- 
gns connected tosether. It is only a fault, that the character 
of this art is already essentially that of a mannerisn. a 

296. Chateau of S. Germain-en-Laye. 

Again we learn to recognize the architecture of Prancis Ion 
another side in a chateau, which the king began to erect at 
the same tims as so many others. This is the chateau of 5. Ger- 
main-en-Laye, 18 miles from Paris in a fine and commanding lo- 
cation rising high above the bank of the Seine. Already in the ‘ 
earliest middle ages it was an important fortress on account 
its situation, #hich dominated the course of the Seine. Sev- 

al kings then resided there, and S. Louis built a castle cha- 
pel that still exists. Later the inglish seized the place, shat 
was burnt by them before the battle of Coucy. Charles V resto- 
red the castle, and there is still seen at the outer Isft angle 
a square tower, which dates from his time. later the castle rt 
rather fell into ruin, until Prancis I, who had eslebrassachis 
marriage with queen Claude thers, subjected it to a thorough 
rebuilding. However he retained the old foundations, the chapel 
of the 18 th century (C in Fis. 42) and the corner tower of % 
the front sides, and substantially save the chateau the form t 
thas still exists, with the exception of the towers, that Louis 
XIV transformed into pavilions. We learn to recognize the elder 


ofw 4¢ oanellts 
ohne a ‘08 20 ae og + 


fer ee 


te 


s rs 
wy ee) ie ae 
Vv « c a oo” fiw 


1 iaier 


> 


ale SR ae Ee Sel ee ee ee > Yer ‘g y hy r R 
CBRE TES! TRS AE Gt RR a Hy Re Ree ec vee a 
te i ? ie Nv ey aha iM , Ay 


93 
P, Chambiges, who is designated as architect of ‘the city of Pa- 
ris: after him appeared G. Guillaume, who was also-his succes- 
gor in the city office, and who withtthe master mason J. pans- 
lois was required to proceed according to the plans of the fi- 
rst master. 

Among ‘the chateaus of this time is S. Germain that one (Pig. 
42), which most bears the character of the massive and warlike, 
and without the great works of the two upper stories it would 
nake a sloomy impression like a fortress. Surrounded by moats 
B, it rises as an irregular pentagon, whose sides all join ¢a- 
ch other at an acute or an ‘obtuse angle, to sive the same shape 
to the included court D. The exterior first rises in two subor- | 
dinate storiss opened by small windows above the surrounding ‘/ 
moats. Thess parts still belong to the middle ages. The main 
entrance lies at the west side atid was permitted by a drawbri- 
dée. Another bridge led to the northeast angle of the extend-- 
ed gardens and parks. Before the main entranci extends 2.court 
surrounded on three sides by farm buildings. At the outer ang- 
les of the western wing are placed round stairway towers. Three 
other winding stairways lie in the court, two of them in the 
ansies of the western wing as entrances to the great hall there, 
#25 £b. long and 35 St. wide, a third in the northeast angle. 
Besides these several smaller winding stairs are placed in the 
south wing, while at about the middle of the north wing rises 
2 convenient principal stairway & with a straisht flight. 

The building is in four stories, of which the two lower have 
less height, but the two upper are stately in arrangement. The 
part erected under Francis I (fig. 43) shows an original treat— 
ment, in which the ornamental element strikingly recedss bef- 
ore the severe earnestness of the construction. Bold buttresses 
extend up to the roof, where they terminate with pedestals cr- 
onned by vases, that are connected by open balustrades. In the 
second and fourth stories these buttresses are connected. by 
round arches, so that two enormous and deep recesses are prod- 
uced in the wall, within which the two tiers of windows of the 
corresponding stairs are placed. The windows all exhibit round 
arches, are sometimes coupled in pairs and have an enclosure 
by Doric pilasters, to which is added in the principal story 
a simple antique gable. The principal story is also furnished 


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with an open balustrade tHat extends before the windows as a 
parapet. The same severe pilaster architecture is also employed 
in the subdivision of the stairway towers, and still more sim- 
ple are the pilasters connected by little arches, which subdi- 
vide the surfaces of the buttresses. The earnestness of this 
architecture is further increased, because the principal memb- 
ars are constructed of ashlars, ths tympanums of the arches and 
even the buttresses in the upper stories are of brick. 

This building differs so Sreatly by its almost gloomy sever- 
ity from the festal gayety, the decorative splendor of the oth- 
er chateaus of this time, it has just as hish importance in 
structural respects. It turns in an impressive manner to vault- 
ed construction, that in the lower stories, the stairways and 
the corridors and vestibule connected therewith is executed in 
entirely mediaeval fashion with strong ribs and elegant keysto- 
nes: but most original in the entire upper story, whose vault 
is indeed the earliest example of this kind in the north, bears 
directly the stone roof of the building. Thus exceptionally ev- 
ery kind of wooden roof is rejected, and by stone slabs laid 
in series on each other is formed a slightly inclined terrace, 
enclosed by balustrades at both sides. The more strange is the 
effect of the numerous chimney caps of indesd modsrate height, 
that r&se above the terraces. Since du Yerceau states, that the 
king was so very interested in the building, that he must ind- 
eed be designated as its support, then,\must ons perhaps attrib- 
ute to him personally this arrangement opposed to the differsnt 
customs of his country. 

+ the east of the chateau Henry II later began the terrace 
Still famous for its noble view over the Seine; furthermore a 
psculiar building“in form of a theatre’, as du cerceau says, 
whose plan exhibits a square with angles cut off, and with fouf 
semicircles on the different sides, the whole beings an open ft 
room intended for theatrical performances or sames, that was 
enclosed in a rectangle by a number of covered side hooms. 

27. ba Muette chateau. 

Besides these five great chatcaus, which in a prominent way 
maks known the architectural tendency of Francis I, the king 
erected a number of mostly smaller chateaus, which are likewise 
characteristic of the art and customs of the time. We deseribe 


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95 
only the more important,and commence with ha iustte.oThSekings 
caused this Little huntins box to be built in the forest of S. 
Germain nine miles from the chateau, and named it La Muette, 
du Cerceau says,*because it was quiet, retired and surrounded 
by the forest”. As archited is named the elder P. CGhambiges, 
as at S. Germain, the contract dates from March 22, 1541. Thus 
it was built to afford the king and some of his intimate foik- 
overs a quist shelter and a place for rest after the enjoyment 
of the hunt. The buildings was built on a smaller scale accord- 
ing to the same prosSramme as chateau Madrid. (fis. 44). With- 
out a court, it presents a nearly square central building fron 
which project at its four corners pavilions like towers, whils 
at the middle of the rear side is attached a chapel with polyg- 
onal termination, on the front side psins a staircase with a 
like polygonal endins. The middle buildings is divided lensgthw- 
ise and contains at one side a hall with two fireplaces and. 
two windows, at the other side bsing two spacious separate 
living rooms connected with the hall; in each angle pavilion 
liss also a livins room with separate wardrobe and privy. 

A vather more accurats analysis of the plan will show what 
care was taken to satisfy the same reauiremsnts, similarly as 
in chateau Madrid. Above a basemeat that contained the service 
rooms and kitchen, rose she building ia three principal stories. 
The entrance was reached by means of a littlis bridge over the 
moat also existing hers, and was in the stair hall. Thenee one 
passed by a moderately wide doorway into a little vestibule, 
and by means of an oblique doorway into the great hall. .The 
hall has a direct ccnnsction with the two adjacent livins rooms, 
with the chapel and with the little cabinst and privies placed 
in the oblique walls of the outer corners. It is further in c 
connection with two galleries Like balconies. The latter lead 
to Little winding stairs, that are again connectsd with the 
corner rooms. These are also repeated in the two angle pavili- 
ons and are so arranged as in Chateau Madrid, that cach has its 
owl) wardrobe, cabinet and stairs. All rooms and wardrobes are 
furnished with fireplaces and are sufficiently lighted. Thus 
the living rooms are also in independent connection with the 
stairs and galleries, with the hall and even with cach other, © 
ut if necassary can also be ssparated from cach other. Only 


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the rectangular projection of the cabinets and wardrobes into 
the cornet rooms cannot be regarded as a sutéessful solution. 
The little galleries with their winding stairs had the greater 
importance for cuommunication, since the central building only 
consisted of three stories, while the pavilions had six, that 
were now connected together by the winding stairs and by the 
galleries with the middie hall. 4 similar connection is. also 
found at the middle buildings of Chambord, where two little sto- 
ries occur for each man story. But also by the principal sta- 
irgay tising with double flights, the separate stories of the 
main building and the pavilions are connected tosether. 

In what concerns the construction of the external slevations, 
thess show great similarity to those of chateau 5. Germain, and 
therefore du Cercsau justly says; “touching the edifice, it is 
made according to,and entirely as that of S. Germain, i.é., ail 
the external ornaments are of bricks”. The chateau was indeed 
built of bricks in its mass, with thick walls and boldly proj- 
ecting buttresses, that were connected by arches as at S. Ger- 
main. In the depths of these ewclosing arches lay the windows, 
and on the arches also rested the galleries. This extremely 
massive constructiou was thereby rsquired, that as at 3. Germn- 
ain and also hers the upper story was vaulted and bore a flat 
terrace roof covered by stone slabs, from which was enjoyed a 
charming view around over the forests. Later instead of this, 
P. de l’Orme built 2a semicircular roof, that terminated with 
a platfora. 7 
28. Chateau Chaivaux. 

Entirely the same simple and severe architecture like S. Ger- 
Main and La Muctte was also shown by the chateau Chalvaux, only 
destroyed in our esntury (1840); brick construction with boldly 
projecting piers, the windows sunk in the openings of the arch- 
es between the piers, also being somewhat monotonously snclosed 
by a system of plain pilasters. hike those two chateaus this 
was the work of the (leéder P. Chambiges. eke 

Chalvau lies between fontaineblean, montereau and Nemours. 
Francis I caused the building of the chateau, as du Cerceau 
says, because in the neighboring forest were numerous Stags. 

He later save it to the duchess d’Etampes. Que to 2 similar p 
parposc as ba Muette, it exhibits an allied plan (Fis. 457.7 Tt 


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97 

It consists of a rectangular middle building’without a cour$ 
which is flanked by pavilions at the four corners. To the ent- 
rance leads a polygonal flisht of steps, above which rises the 

pse of the chapel lying in the upper story. This is a mediae-— 
ie idea, that ac frequently found in 2 similar way, for exan- 
ple at chateau Martainville (Fis. 23). Through a broad portal 
ons passes into a vestibule from which a principal stairway 1 
lsads to the upper story, beside which at each side are formed 
narrow corridors, that lead to the apartments of the lower sto- © 
ry. They end in the depth of the building in a transverse pas- 
sase receiving its light at cach end and separatins the front 
part of the building from its rear. In front are placed two 
stately and nearly square rooms at each side of the stairway. 
Bach has its entrance from the corridor, its fireplaces, a con- 
necting doorway in the dividing wall, and a window at the side 
opening on a gallery, to which is added a window in the facade 
for the front room. The part of the middie buildins lyins beh- 
ind on the contrary is divided into a large hall and a room 
connected therewith, which has its access only from the hall, 
and thus ig to be resarded as a separately reserved cabinet. 
The hall has its access from the transverse passags, is warmed 
by two fireplaces, and receives its light by three windows in 
the rear and one at the sides, openins on the gallery. 

These side galleries rested on arches with plainly treated | 
piers, and served to connect ithe apartments lying in the angle J 
pavliions with the middle building, particularly the hall. Hach © 

_of these apartments had & principal room and a side chamber, 
h fireplaces, then a wardrobs, privy, and a separate 
access by a winding sisirs. Thus the same programme was comple= 
i. that we recogniged in all new buildings erected by Francis 
I ga Chambord, Madrid, and La Mustte, as a common basis; a mid- | 
dle hall for society; about £t being grouped ayd connected with — 
it 2 larger or smaller number of independent lodgings, each m 
made so indspendent by its own winding stairs, that its occup- 
ant could go and come unséen. 
The principal stairway that connected the elevated rowed Ss 
story with the two upper storiss led in one flight without rest 
or landing in the entire height of 22 ft. of the ground story 
to the upper story. This stairway must have been rather tiring © 


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98 
to ascend, like the somewhat later constructed prinpipal stair- — 
ay of the Louvre, that is well known to visitors of the gall- 

ery of paintings. 

Of the architecture of the exterior (Fis. 46) is only to be 
said, that in the mass it is of bricks, ths structures members 
being of stons, making an extremely plain impression. Gharact- 
eristic were the windows lying in deep arched recesses. As in 
S. Sermain and Lea Muette, the upper story was vaulted, and as 
there bore a terrace roof covered by stone slabs. Only above 
the lhapel, characterized by its great arched windows divided 
by tracery, rose 2 high roof, that was crowned by a lantern. 
For the side facades the impression was determined by the open 
arched porticos of the galleries repeated in two stories, 

29. Chateau Villers-Coterets,. 

Tf La Muette and Chalvan may be compared to S. Sermain in ¢ 
construction and even in the compact and closely énclosed plan, 
then chateau Villers- Coterets in its broad and extended sroup-— 
ing around several counts presents some relationship with fon- 
tainebleau. Excepting that here, where little of the old was 
to be retained, and ths architect proceeded more freely and 
more systematically, could be comparsd symmetry and normalcy. 
From the decree of Francis I on June 18, 1532, we know that 
en, besides the buildings of Fontainebleau, Madrid, as well 
as S. Sermain and the Louvre, building was also carried on at 
Villers-coterets. It was even expressly emphasized, that there 
as at S. Germain should be made a fountain and supply. pikewise 
like most of the chateaus of the hunt-lovins kids owed its ori- q 
gin to an adjacent forest; it lay on the roed from Paris to 5 
Soissons, 18 miles from theilast city and close to the forest 
of Rets. As architects are named J. and G. le Breton until 1550, 
whose brother Gilles ws learned to know in Fontainebleau. Later 
when the building was completed under Heary II, and particular- 
ly a great pavilion was added,to the west side, we find R. Vaul- — 
tier and G. Agasse are mentioned. About the middle of the 18 th — 
century the chateau was greatly chansed by the duke of Orleans, 7 
and it was strongly devastated in the Revolation. Not it serves — 
as a “prison for vagrants”. 4 

The building belongs to those in which is represented the mod— 
arn form of princely conntry seat, without moat or drawbridges, 


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99 

towers and the other mediaeval clements, in brisf it appears 
without the traditional accessoriss. Aven the stairways no 
longer are in projecting towers as windins stairs, but rise 
straight after the model of the Florentine, yet are more mod- 
estly placed in the angles of the court. The latter has projec- 
ting columnar arcades on three sides for connecting the rooms. 

One enters through &@ plain round-arched portal, above which 
rises 2 balcony on consoles, in the outer (lower) court which 
is surrounded on three sides by one story service dwellings. 
Columnar porticos, to whose elevated floors lead some flights 
of steps at certain intervals, surround tis lons court, that 
measures 120 ft. in width with 2 lensth of 300 ft. In the main 
axis one then passes to a sscond sateway in the transverse bu- 
ildins, that separates the outer from the inner court. This 
structures contains the older parts of the chateau, which Fran- 
cis I restored and built. The forms here are naturally richer, 
and the building shows above the ground story, that it has in 
common with the. buildings of the cuter court, an upper storm, 
that is built as entirely the nobler part. Pilasters are Doric 
below end gorinthian above and divide the wall surfaces. In 
the middle opens the portal with a depressed arch, that leads 
into the second court’ above it is a logsia with a balcony: o 
over this on the frieze are the lilies aad the royal initial. 
Tas high roof has its separate story and on its gaple prises 
bell tower with a slender spire. | 
According to this example iscthe architecture of the living 
rooms of the master, that surround the inner court if the chat— 
sau, except being in a rather plainer treatment, Before the § 
sround story #& both ends and at the longer side at risht of 
the entrance lie columnar porticos, like those of ithe outer 
court being surrounded by architraves, and as thers directly 


i) 


ft. and serves for playing batbl. 

Notiiag further in the internal distribution is remarkable, 
than with a series of larger and smaller rooms are arranged 
beside each other in one lins, partly detached by narrow corr— 
idors and connected with the stairways, whose arransement was 
previously stated. “esides the principal stairways, these are 
however aided by some winding stairs in little round towers at 


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100 
the angles, and also several little round towers are placed | 
elsewhsre outside to afford a view of the gardens and park. — 
For the chateau was surrounded on all sides by extensive beds } 


of flowers, gardens with alleys anc shrubbery, ind finalsy by 


a park also intersected by alleys. Stairs lead directly from 
the rooms at several sides. Thus the whole may be regarded as 
a model of a simple, but comfortable and tasteful prominent 
country seat of the time. 

80. Chateau Folembray, called the Pavilion. 

Like the building last mentioned, the chateau Folembray also 
bears the stamp of a simple and clear modern arrangement with- 
out mediaeval reminiscences. At most the five winding stairs 
with their polygonal towers, that are distributed in the court, 
recall the old native customs. The entrance with a round arch 
and enclosed by pilasters in tae antique fashion lay in a pav- 
ilion A, that was flanked by four round towers. From thence 
one passed into an outer court of irregular plan, that conta= | 
ined a hall for playing ball besides other structures. Then not 
continuing alons the longitudinal axis as usual, but turning ~ 
to the left, one passed at B into the sreat inner court C, that ~ 
had the unusual length of 24. ft. and 140 ft. in width. Without 
arcades, yet arranged on all sides in stately form, surrounded 
by well connected living rooms in two stories with an attic s 
story. The windows were high aith double crossbars, showed a 
simple architecture, but the dormers had gables like the anti- 
que. It is the sams spirit of dignified simplicity and plain — 
clarity, which characterizes this attractive rural residence, 
like that of chateau Villers-Coterets. With especial preferences 
was treated the longitudinal side lying next the sarden. Accom- 
panied by a terrace in its entire extent, from which steps led : 
down into the garden, it contained a flight of steps and dirsct— | 
ly cornected halls and smaller rooms, no less than ten ir all, 
further connected with the other stories by three windings sta- 
irways. But the greatest charm was obtained by the plan through 
the beautiful gardens and parks, that surrounded the chateau 
to a considerable extent. | 

This chateau likewise owed its or#gin to Francis I. Two and 
one fourth miles north of Coucy and located in a plain, it ser- 
vad the king as an alternative residence, when the walls of that 


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grand fortress of the middle ages became too oppress 
Partly burnt in the civil war of 1544, du ferceau 
perspective view of the building half lying in rains 


entire ruin of the opposite building, 


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102 a 
Chapter IV. The Renaissance under francis I. 
B. Country seats of the nobility. 
Shateau Nantouillet. 

The example of such an art-loving king rapidly had a determ- 
ining effect on all that were eminent and adhered to the court. 
Still at about the end of the 1m th century the nobles built 
their residences entirely in the Gothic style, and. ¢ven a man 
like L. de la Tremouille, who sufficiently knew Italy, found 
the old native style of architectures sufficient for his fine 
dwelling in Paris. Even in the first decade of the 16 th cent- 
urn we saw @ connoisseur and friend of art like cardinal Ambo- 
ise erect a buildin, in which Gothic tendencies still strongiy 
predominated. But after the accession of francis I to the gov- 
ernment, the Renaissance also penetrated sradually to the coun- 
try seats of the nobles, and we can also clearly follow here 
the course of development of the architecture. But it is char- 
acteristic, that the main points of the feudal castle were more 
retained in these buildings than in most royal chateaus. Of 
less importance compared with the power of the crown, the nob-— 
ility henceforth is an indep oon. slement in the life of the 
state, and it appears that the more misht its members maintain 
the appearance of the pets castle by the surroundings moat and 
the massive corner towers. It was indeed only a mask behind w | 
which the care for convenicuce, say ornament, and comfortable i 
enjoyment of life no less made itself felt. } 

We commence with 2 now little known chateau in spite of its 
nearness to Paris, whose excellent publication we owe to Sauv- 
assot. It is the chateau Nantouillet not far from Meaux, the 
splendid country seat of cardinal Du Prat, who from a low con- 
dition rose to be a chancellor of Francis I, and later even s 
rose to become a papal legate. It appears that the buildings w 
was begun about 1519; on a window of the ground stéry is read 
the year 1521. The chateau, today reduced to a neglected con- 
dition and Leased as a farm court, not only bears in its ent- 
iro arrangement the stamp of a fendal noble family, but also 
exhibits in its details a strong mixture of Gothic elements 
with the ornamental forms of the Renaissance. 

A moat is now filled and planted with shrubbery, but surr- 
sounded the hish enclosing wall, that forms a rectangle ofabout 


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103 

260 ft. wide by 2380 ft. deep. At the four corners are placed 
toundztowers about 32 ft. diameter,entirely accordins to the 
mediaeval style. At the rear adjoins a garden lawn, that the 
former noat enclosed. Also at its two outer angles were erect- 
ed two smaller round towers like pavilions. The entrance to 
the court of the chateau does aot lie in the akis, as one might 
expect, but at the right corner of the front side, closely fl- 
anked by the round tower thers, entirely according to the old 
tulss for defense and threatening the right side of those ent-— 
ering, as in the plans of that time still had reference to the 
strong repulse of an attack. The portal consists of a great 
‘pound-arched gateway, beside which is arranged 2 narrow. doorway 
for persons on foot in the traditional fashion. Here.at once 
appears to the syes the wonderful mixture of both architectural 
Styles; the lower story exhibits exclusively the forms of the 
Renaissance, enclosing pilasters of heavy proportions with el- 
egant capitals and other ornamental decorations; ths upper sto- 
ry, on which are noticed the great slots for the chains of the 
drawbeidse, has three elegant niches for statues crowned by. 
canopies, between which and over the entrance a much bisher 
and richer niche with a statue of a seated Jupiter --- a suit— 
able ppahectine saint for an ecclesiastical princs of that time. 
Thess niches with their hish perforated canopies are Gothic in 
conception, but the mediasval idea is expressed in ths most or- 
namental Renaissance forms. 

If one enters the court, he passes between the later farm b 
buildings to the nucleus of the old plan. The chateau consists 
of aja ahaa wing, which contains the entrance and the stair- 
, adjoining the enclosing wall at the rear; also two side 
ar the one at the left containing a beautifully treated 
stairs for the servants. At the two outer corners ars asain 
placed round tomers, that however measure only 9 ft. in the 
clear. As bays for the corner rooms, they afford a view into 
the gardens. The one lying at the right further contains ina 
low ground story the bath cabinet of the cardinal, which tas. 
pressent occupiers call the “prison”. A winding stair is visi- 
ble externally and leads to his living apartments. 

The most interesting part of the buildins is the stairway. 
Placed in the axis of the principal wing, it presents for France | 


‘4 


Du. Bebonos Giir 


eS on 


hii dae WA 2 a 


4 
She 


* 
Bhat 


ste 
bik atin, he eq! 

pi) ee teste ost 

biaca else pda: 
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{hiss leuthaas + 


& 


gates ‘oa + 


104 | 
one of the earliest and perhaps even the first example of a 
stairway with straight flight, arranged within the interior 
of the building; while most stairways of French chateaus of 
the time are placed in projectins towers, as we have seen. 
The entrance to the court forms a low portal with rounded 
lintel flanked by Fothic rounds and hollows, but ornamented by 
dslicately executed Renaissance arabesques. But at the same 
time a double ramp stairway at the opposite side of the sarden 
leads to a second portal, that is covered by & portico on slen- 
der columns composed-in the style of the middle ages. These c 
columns (fis. 48) support a little polygonal chapel of the cha- 
teau, that z= so frequently in France is built out over the p 
portal on columns. A corridor lies under the second flight of 
the steirs and leads from this sarden portal to the stairway. 
This is a masterpiece of elegant architecture} covered by vari- 
ously composed Gothic star and net vaults, it shows in the free- 
ly suspended perforated keystones, the rich tracery shat exte- 
nds around the ribs, and finally in the consoles and elegant 
Renaissance niches of the wall piers hre entire ornamental mas- 
nificence of this epoch. Here may also be seen the daring motto 
of the ambitious cardinal; “Never struck”. The chapel with its 
vesica windows is small, but is so connected with the stairs 
by a tasteful wooden lattice door, that if necessary this could 
serve the attendants of the master of the chateau for hearings . 
the mass. The masgnificentcy carved chair of the cardinal still 
exists. 

Nothing more of the internal treatment is visible than the 
rich fireplace in the bkall of the sround story, that lies at 
she BefS of the court entrance beside the stairway. The salan- 
ander of Francis I is found in several places, and as a further — 
evidence of the date of the origin of the attractive building. — 
Also the elegant tapsstry patterns are conceived, that in the 
form of stars, lilies and the like animate the wall surfaces 
by varied desisas. They are cut on the stones in flat sinkings. 
Worthy of consideration is finally, that the entire building 
possesses no visible attic story. 1. Pa 

82. Chateau Chenonceaux. . 

Tn contrast to the works before described, the chateau Chen- a 

onceaux presents the view of a completely preserved monument 


4 
> 


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OE ee 


fork tei ta CS ‘ence “garetind So evel bddFtorenie dasld Ye 
“Tae Sevts sdt escuoe egbied « ne tiied  aielS wedeca bre 
B Yo guebeetnt Leionsntt yueivo® tf yd “Leh ceste slind var 
f ni d¢esh etd ts etteq Isqioatg ext tt Botelgaoo bas ,yboes 
fared ode <T efonan’ ct wssteds eft foe ybseals ace wid sod 
Sieg Yitnenpest ed? guifiind ed? no meee at dey youd ti 
| ) sit tin elie eid fos tence teat? eit to amaze hoveso 
= seas TI yineh .*em evse [Lin si \taiog sad cd eenco 2 
it Botoors ed ot boeneo GEEL node ofW .esexrzic® to aceig 
henge snebiied desk eid yd Bebestok sed) edd tov obbi 
isda ‘edd Solfequoe einiey ob onivedzed gaia ed? to ddeeb 
| 30 ye? s tf FI .dnorvedO weetedd we? ¢¥ egnadors oF beers 
née eds OF ancisibbs Faery hsoucawoo oda puseay' esd to daee 
6 msedado edd ferofons Jedd .edniv sefugoatoes cw? .aeiblind 
| eee Bemtot ,weds ceowsed eghind edt doin asdtepes .acen edt 
eb t nig Sad OF Ralbtcood seauo0o fee13 2 dgvin ncisconacs 
. mee @ tc eebie tvod ne brotro tt ten ftn0o sd} .ce6759 
Wa hocdes s Agaa nsgo bes ,eshsows yd beeolone ylovided 
@ Bae ted .waol Isbiossge2d ui beaaaiss t40c0 aedue obin-2 
feowy bedidigxzs bas ,egaibiind yd eshte esedd neo beac 
, cin Eaiecento» Otiw sixe Lagicniszg edt to elbhim edt et 
“i 3 Ep eb eat eoottr0g don 
pees ead oF gebtée70c Jobugee: bas shieeb a.idd evacl oe 
emt t (ep “BtS) bait lica od? .T stongtt tec ents edt ni” betos 
edo See Sifeo¥ 24 sseieno etil .enan etappe ¢ yiteer 
cc <eebe efhbiw ef) Yo wooo sactte dsin doy (nev 
GO ,ebntifedteo no exsetco awed sii sé Sostorwg ersned 
®@ One Saibne Isrotelog dtiw Llegedo «. -gSaied ‘obie ota 
y i@2I edt ,mcor Lencdyleg welleme cetwoilf a ddvin soiliv 
ts a eeodw eabiad gncl a evo benigdds ei eeesod .bebbe 
ies: egeidts? Levesibes at exewod honor vd bedoedory eay 
peadguel esi to efbhbim ei! da sobiswco obin « eso Word: art 
, s ebie anoicage e fne lei s osnk seaseg snt sonsid mort 
a ft» eds S44W syed Hagot B yd-esibns edt'te bopae te dvod 
Mm ybeotls dd? moor ebie ead ssin Bae .foqndo sat Bedoennes 
a al emoo? dtod seentse .yrendil edt idtiv nctliveq Benokt 
ws evewrigse Scthsin 2 fe soeeesg £ yd aoltscinnmnos 8 36 
te0p a osnk Tobiss0o SLhbim add mov? eseesg onc ohie aenso 
ab ebeat yertiste sibbim edt doidw moewsed .emoor anivil 
Br ii a 
aca i 


ie Tee! ah yt ba: on | 
oe ee arts ) to en 


aye 


105 Bs 
of that timeroftths Love of buildings. Some 20 miles from Tours 
and nearer Blois, built on a bridge across the river Gher, it 
was built after 1515 by T. Bovier, financial interdant of Nor- 


mandy, and completed in the prncipal parts at his death in 1923. 


But hig son already sold the chateau to Francis I, who finished 
it. Evey yet is seen on the buildings the frequently painted and 
carved arms of the first owner and his wife with the motto%Ef 
it comes to the point, he will save me”. Henry IT gave £t 89 
fiana of Poitisrs, who about 1555 caused to be erected the br- 
idge over the Cher intended by the first builder. After the 


death of the king Catherine de Yedicis compelled the. hated mig-_ 
tress to exchange it for Chateau Chaaumont. It was a faverite | 


seat of the queen, who commenced sreat additions to the oid 
building. Two rectangular wings, that enclosed the chateau at 
the rear, together with the bridge between them, formed the ; 
connection with a great court. According to the drawings of du 
Cerceau, the court was to extend on both sides of a semicircte 
éntirsly enclosed by arcades, and open with a second bridge on 
@ wide outer court arransed in trapezoidal form, that was encl- 
osed on three sides by buildings, and exhibited a sreat partal 
in the middle of the principal axis with a three-aisled sentra- 
nce portico. 


He Leavs this design and restrict ourselves to the parts er-_ 


ected in the time of francis I. The building (Fig. 49) forms 
nearly a square mass, like chateau La Mustte and chateau Chal- 
vau, yet with strong echos of the middle ages, since round t 
towers project at the four corners on corbellings, on the east- 
ern side being a chapel with polygonal ending and a square pa- 
vilion with a likewise smaller polysonal room, the library, ere 
added. Access is obtained over a lons bridse, whose sntrance 
was protected by round towers in mediaeval fashion. The baild- 
ing itself has a wide corridor at the middle of its length. 
From thence one passes into a hall and a spacious side room, 
both enlarged at the angles by a round bay. With the hall is 
connected the chapel, and with the side room the already men- 
tioned pavilion with the library. Bétween both rooms is furth- 
er a communication by a passage and a winding stairway. At the 
other side one passes from the middle corridor into two square 
living rooms, between which the middle stairway leads in a st- 


ee ee a 


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s mm ef GP 


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4 


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106 
Straight flight to a landing, and from thence in the opposite 
direction to the upper story. “Smaller side stairs are placed 
at each end of the middle corridor. The arranggment of the 
Sround story repests that of the upper story. 

The arthitecturs of the exterior (Fig. 52) shows the high 
roofs with their window Sables still of mediaeval design. but 
executed in Renaissance forms, and the massive chimney caps, 
the depressed arches of the portal and of the lossia over it, 
that by a corbelled balcony opens externally, and finally the 
late Gothic forms of the chapel; All elements from that early 
time of the French Renaissance. The windows with their round- 
ed lintels ars snclosed by pilasters and are connected in pai- 
rs by dryly treated hermes. The charm of ths location in the 
midst of flowins water, surrounded by magnificent sroups of 
trees and gardens, is of rare interest. But the interior has 
yet greater value by the almost complete preservation of the 
old ornamentation with its rich decoration by painting and 
reliefs. er 

88. Chateau of Bury. 

To the Srandest designs of chateaus of the carly Bime of- 
Francis I belongs Bury. Nine miles from Blois and located in 
the charming forest valley of the Cisse close to the edge of 
the forest of Blois, it still excites astonishment by its mas-— 
Sive rains. In the place of a castle destroyed in the Wars 
under Charles IV and Gherles VII, it was begun after 1575 by 
F. Robertet, minister and secretary of state to the king, it 
was built anew. In the beginnins of the 17 th century by the 
dying out of the famély, it passed into other hands, ander the 
new possessors it soon fell into ruin and by them was sven rob- 
bed of its ornamentation and partially destroyed, to restore 
and decorate the chateau of Onzain also belongons to then. 
Once abandoned, it sunk still lower, was utilized as a stone 
quarry by the inhabitants in the vicinity, and now as a mighty 
ruin is the scene for the fanciful beings of popular tradition, 
which has made its ruins the seat of the wild huntsman and the 
white lady. P 

Of the arrangement of the whole we have a view drawn after 
du Gerceau with the addition of the ground plan. We give from 
the same source a perspective vicw in Fis. 51, from which the 


D 


Tek on edd ne asl fevsniton iho 
d hebaetet 

ond: cele | babs own t .etentce 
~ Isboe? edd od 

feoretnt odd Yo 
 gnivrec Yo beetent omits 
“enedo evotorg 

tie ae 
ee begess2 
Bee Sstesont- 
~ebie sonzsire 


pig eet OGL Ye 


- 


at. 


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p “batace A edd 

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eoor? 


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ota i’ 


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Be Fe ws YY Oe 8 


i622 yilenps 


Bronce Snre2 34 Sakwedii) .sresapd-nadoh geniag ti 
3 Si didiess« enokvelooiioan bas ednemeiisa aa kin 


107 
combination of the mediaéval plan and the modern treatment is 
visible. The moat with its drawbridge defended by towers, the 
four round towers at the corners, to which are added also two 
that cccur at the end of the garden, belons to the fendal cas— 
tle of the middle ages; but the subdivision of the interns} 
space shows us the customs of a new time. Instead of serving 
for defense, the towers contain in each story a spacious chan- 
ber with wardrobes, and open externally by sreat Windows with 
crossbars. Bbikewise the stairways are no longer arransed as 
winding stairs in projectins stattcases, but are included wi- 
thin the building.Abso the stately arcades at the entrance side, 
the regular plan of the court, that forms a square of 150 ft., 
and the magnificent sallery 140 ft. long and 24 ft. wide, which 
occupied the right wins, is of the nen time. From the Renaiss— 
ance also dates the entire decoration by the system of pilast- 
ers in two stories, and the richly crowned dormer windows, wh- 
ich recall the fanciful forms of Blois and of Chenonceaux. 

Amons the rich ornamentation that distinguished the chateau, 
were emphasized in the 17 th century still the splendid marble 
busts. In du Cerceau and accordingly in our representation is 
seen at the middle of the court a slender youthful form on a 
column. There remains no doubt, that this figure was that of 
the entirely vanished bronze ,avid of Michelangelo, which at 
the order of the Signoria of Florence was originally cast for 
P. de Rohan, marshal de Gie, and that his successor F. Robertet 
in the favor of the king received and established in the court 
ef his chateau of Bury. The travelers and description in the 


in the court of the chateau of Bury, that was brousht from Rome 
and was very highly esteemed by connoisseurs. But already in 
the engravings of I. Sylvestre is to be seen a fountain instead 
of the David. Probably the David was also removed te chatean 
Onzain, where it then vanished withiut a trace. 

34. Chateau Le Verser. 

In like manner as at Bury, nucdiacval traditions connected 
with the ideas of buildins in the new ipoch dominate thse desi- 
gn of the equally grand chateau Le Versger in Anjou, the former 
residence of prince Rohan-Guemense. Likewise here round towers 
with crowning battlements and machicolations flank the angles 


* 
: ri 

‘ 

) 


17 th century expressly mentioned a “bronze image of king David? 


a 


On: eg {Sai hin ‘eat bivereis' tens asain saz ay 
rt onta sade ~setesm edd to soneblee: sat te zelene edd te 
a yiesom fon PES fom A wtunoo sapnt ssleynzt0071 2 veh 
) dane Leasosxe edt betsasqee cafe tad .nealq esitee odt | 
Daciatisers Bus salognatoss edi gi. ing eTegozq naotesio edd e 

xsd youchnet ed3 Soeesagxe eased et aelg ads to jnamosnes 

Ke GOwesh A .consautenct edt div berets test .Wwisslorey jeee, 
| yBtenod Bonot ond ys hexanal? eonsisne feqtonisa siz ot ess ees. 
we} ent sedssini aoongnyt bos dows havo gesss 2 dtiw tedd mn 
Spome Pacoee of2 ysertnes esd (nC stows Ledguuiss espiins se to Bee 
“4 aeeees eovib .tertt edt eiil sixes aism odd no snixl const | 
‘WW mosess ones} ‘odd. ot Bnthsocos hae ,tanco. segan edt 02 
| wantocd yoizen 2 dtiw dors begssiqeh & yd betsyoo soneiiae 
tos don ek etedd celA .soct no ategsseneq s0T Zi ebteed 
ee naiatecupe odd dtiw asin bedota stinovat ost oved a 
fgco yd bodaalt aoklived Biod s te stakenco antawor edd ila 
ene Go etewt0b oA? .etomt0h asic yd bedeintt bas etenaes 
ft veetol [aveeibem tasnimohexg tidigze {lide gnibiied 3% 
Ste th gra etias enoiiibaat lancitaa + e730 cs , a 
eit eoiliveansieY uscted’] .té : 
fe 2k sooge Seihtenas3 eidt Yo sovoacscéso desat sase sit. ° me 
| eeageis-scen, sliiverns72¥ festedo ots Yn eoismer edd yd | pi 
Oisants O08. 20, eioccrocm beivesisict 220m sit of ekocled 
6 dtizon eid 20% eyomat ,yio iseft to tenxe-gide a ond 
id howrso ta Yo evel etd tot west ton ,wobsvev 2ée goof 
‘Bed ed sadte ~Nedoe3s ed of tees yituseo sneoit ingen 
R bevsE0 yidolit « déiw-eapod sid ileedi scqsid at titsdes ’ 
pees ftediotns bas evicoes biuoo ed SS8i snodé <ebsoet OM 
Beer eeraek sald .testedo, sid at soneleqo yleoaiag atin “eo 
yitgeb tied wor oi sonsecianoh yiuss edd to contgietsaa 
Saeaay damoo edt to8 stance wrzst baeast A od ot Ane sed 
? eater léntgiso edt to .mottsqovnb baa sobeelge. edd tididxe ke 
vi yentiace fanonyicy s egnia goem asain dtod scorn eibas edt | OM 
ie pasos bas Iecthizo tnd yengedado eredt nt ylttom. an .t9 - ) 
a te @deili teexg edd eb fooge eidt ni enedwoals ancda od - 
igre & od guar siduok « af ‘pbasl dokdw .sanoo odd, af ay ‘ 
m2 5 Lisx ssqeiag did @ evode ted? yysots basesp edd ab Os 
ote  eiyatesvns gomoloe gnoite no Yaisvees ‘eedizs ovieven 
ARE: okzce & sone miu bate toto edt seiwedid od tgaD 


ee 


¢ a : 


6 

' ie le 
uf 

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108 
of the wings that surround the great court; also two others are 
at the angles of the residence of the master, that also inclu- 
des a rectanguler inner court. A moat did not merely enclose 
the entire plan, but also separated the external court from t. 
the chateau proper. But In the rectangular and symmetrical ar- 
rangement of the plan is here expressed the tendency to clear 
resularity, that entered with the Renaissance. A drawbridge 
leads to the principal entrance flanked by two round towers, 
that with a great round arch and tympanum imitates the form 
of an antique triumphal arch. On the contrary the second en- 
trance, lying on the main axis like the first, Sives access 
to the upper court, and according to the French custom by an . 
entrance covered by a depressed arch with a narrow doorway 
beside it for passensers on foot. Also there is not wanting 
here the favorite arched niche with the equestrian statue, and 
the crowning cousistr of a bold pavilion flanked by corbelled 
turrets and finished by high dormers. The dormers on the enti- 
re building still exhibit predominant mediaeval forms. Thus al- 
so here the national traditions unite with foreign influences. 

356 dhateau Varanseville. 

The same fresh character of this transition epoch is shown 
by the remains nf the chateau Varangeville near Dieppe, that 
belongs to the most interesting monuments of the time. One J. 
Ango, a ship-owner of that city, famous for his wealth and his 
long sea voyades, not less for his love of art, caused this 
magnificent country seat to be erscted, after he had previously 
rebuilt in Dieppe itself his howse with a richly carved wooden 
facade. About 1532 he could receive and entertain Francis I w 
with princely opulence in his chateau. Like Nantouillet, this 
masterpisce of the early Renaissance is now half destroyed and 
has sunk to be a leased farm court. But the court facades yet 
exhibit the splendor and decoration of the original work. In | 
the angle where both wings meet rises a polygonal stairway toa- 
er, as mostly in these chateaus; but original and scarcely to 
be shown elsewhere in this epoch is the great flisht of steps 
in the court, which leads in a double ramp to a great portico 
in the ground story, that above a high parapet wail opens with 
massive arches resting on strons columns invitingly toward the 
court. Likewise the other wing shows such a portico, but unlike 


| 
. 
| 


le : a 
¢ 


sheliee ston ted tein ae 

no ityodote hae 
te kine «rd lg baad Tease ees ao ; 
bite oidged dsinw bexin .erettoo seasec 


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a i 
da Wal ad 


) t0 e0bnelc 


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me ~ ibe. - 


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Ditauas of 


199 
it is to be regarded not as an arcade but more as an open los- 
Sia. The columns by their dry proportions and the capitals re- 
call Gothic architecture; on the other hand the arches exhibit 
antique mouldings and lozense coffers, mixed with Gothic blind 
tracery. 

In the ground story is seen little round-arched windows, en- 
closed b: pilasters, entablatures and gables after the style 
of the Renaissance. On the contrary the windows of the princi- 
pal story have straisht lintels, crossbars and an enclosure by 
Roman pilasters, a frieze with medallion heads alternately en- 
closed in lozenge panels or by round garlands of laurel, extends 
between the two stories. Just as in Nantouillet also is reject-— 
ed here the arrangement of an attic. The greatest splendor of 
the ornamentation is developed on the flight of steps, whose 
end walis are entirely covered by precious arabesques, pilast-— 
ers with gracefal ornaments and medallions in relief. 

36. Chateau of Chantilly. 

In his description of the abbey of the Thelemites Rabelais 
calis this imasinary creation “mors magnificent that Bonnivet, 
Chambord or even Chantilly”. To his time thus belonged the lat- 
ter chateau eamons those most estcensd, that men knew in Prance. 

The location of the chateau (Fis. 52) year Senlis on a branch 
of the Oiss, had given opportunity for an extensive basin of 
water, which not merely by the usual moat, but further enclos— 


country road by means of a ions bridge A over one of these 
broad rivers that surrounded the whole, one passed into the 
rectansular court B surrounded by service buildings, which was 
connected by the hall C with the garden lawn D. Like a longs ex- 
tende. island lie there both of these connected parts. As a 
second island surrounded in the same manner by water, there 
rises the master’s residence, that is srouped around a trians- 
‘glar court. Thus we find here, withont question required by 
the nature of the site, an entirely irregular plan decordius 
to the style of the middle ages. The fendal impression is 
merely strengthened thereby, that not only the angles rise th- 
ee round towers with crowning battlements, machicolations and 
high roofs, but that nearly in the middle of the two sides of 
the triangle projects a semicircular tower like a.bastion, and 


aft eau ames 
oat ‘bas? 36 ebis bakdd 2 
Ae beatendase ce! m ef e798 i ‘ebbhiadwash i29d%9 
\pueetecc weit va ) ged? gleviedstaat cane tatonetetio 


Fd * 


sabenct oot & 10 hs atl cHeteaoowenns Sei 


‘eae te gnomevsg sis oveds .ti Of Jvode-. aeeks 
oa egese ess yd ti sozl Sneose etatessd? tage 


edt ar tuo 

-o7ed 2h we Baihrooe 
<"aellso 
et0@ Debse 

-yed ebson? Tac 

) bas t5532 2 
gd OCS tuod 

20 Feort exivce 


Sah 


 jasbe Bi aviensixe 
‘eno! $s bee Bofons ech 


#A¢e Pawe 
we We ke se ' 


Cl 6? wea 


4 we ald 


ome eam 
Ded me dn ee Da 


Na em ee me ay 


a eee Vee 


110 
two similar bulwarks at the third side defend the entrance 
over the external drawb&idge M. Here is also emphasized the 
feudal character mors impressively than on any other chateau, 
of the time. The Sntiré innercchetean stands on a rock founda- 
tion, whose level rises about 10 ft. above the pavement of the 
outer court. One must therefore ascend from it by the steps B 
to the bridge F, that leads to the residence of the master. 
Likewise one passes from this by a second flight of-steps down 
into the lower garden. Finally beneath the entire residence 
of the noble extend vaulted cellars of great area, cut in the 
rock in two stories, an arrangement that accordins to du Gerc- 
eau “is rather to be compared to a Labyrinth than a cellar”. 

But the ground plan did not end thereby. It extended more 
considerably at two sides» then from the principal facade bey- 
ond the bridge J flanked by towers, one passes to a great and 
also elevated terrace, which in a rectangle of about 800 by 
500 ft. enclosed by walls, extended salons the entire front of 
the chateau. Brom this one then comes to the broad parks with 
their magnificent alleys and groups of trees. But at the oppo- 
Site side, if one went from the gardens D by a bridge across 
the outer moat, he cams to & still more extensive garden, that 
formed a square of about 35. ft., and was enclosed at ons sides 
by an elevated open loggia. Beside this garden was placed the 
irregular and spacious farm court with its extensive structures, 
SO that this chateau posséssed no Iisss than three courts. 

Let us now return to the inner chateau to sxamine its arran- 
gsnent. The main front forms the longer side of the triangle. 
Hers one passes throush the entrance J ofctpyins. thesmiddle, 
and protected by towsrs, into the master’s apartments, that 
according to the custom of the time consists of a series of 
larger and smaller rooms. From the court G a stately flight of 
steps K in two ramps leads to the elevated ground story, and 
from thence to a stairway, which in a straight flight to the 
first landing and a rectangular turn there reaches the upper 
story. In spite of the strong mediaeval reminiscences the des- 
ign of the stairway is entirely modern, and in the entire chait- 4 
eau occurs no more important stairway. The other side of the 4 
building adjoins ths principal building at a right angle and 
has a great hall L, to which a separate flisht of stsps leads § 


ii Pe Lars tha) sh a 


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heeoisan uitasa | @aniblind- 202 yitaag vine et suncesteayd 40 
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111 

-rom the court. This is adjoined by subordinate rooms occupying 
the blunt and irregular angie of ths triangle. The third side 
or hypothenuse is only partly for buildings, partly enclosed 
by a fortified wall, from which projects a tower for defendons 
the second bridge. Here lies as a separate buildings the Gothic 
chapel H with polygonal choir. | 

This is the arrangement of the vast building, which in part 
datee from the middle ages, but was restored and transformed 
in the 16 th century with extraordinary magnificence. Meanwhile, 
aside from the mediacval remains, du Cercean’s drawings perpit 
two epochs to be clearly distinguished. The first includes ths 
sreatest part of the chateau proper, the master’s residence, 
and undeniably refers to the early time of Prancis I. the sec- 
ond, to which is attributed the regular plan of the‘outer court 
and of the service rooms found there, decidedly stands at the 
end of that epoch, or rather already in the time of Henry II. 
The Sreatest magnificence is developed on the buildings of the 
early time, particularly on the court sids of the master’s res-— 
idence, that bslongs to the most elegant and richest works of 
that time (#ig. 53). The great windows with their stone crosses, 
-enclossd in both stories by corinthian pilasters, the richly 
crowned dormer windows, thst compete with the most ornamental 
‘of their kind, the splendid projection at the flight of steps 
arranged with an open portico, its roof adorned by statues and 
crowned by a slender spire, the mamasnificent open portico by 
which the hall like a gallery opens into the court, and whose 
walls like the before mentioned projection are subdivided by 
Corinthian half columns, finally the little pavilion in the 
projecting angle, that also contains a stairway and terminates 
with an octagonal superstructure and a round lantern, all aff- 
ords an entirety of the highest richness. To this are added t 
the medallions with busts, the soaring genii supporting the 
arms on the window parapets, the vases and statues, sverywhere 
employed to crown independent parts, in brief all siements of 
decoration, which that splendor loving epoch brought into use. 
Byven the chapel, still indeed an early Gothic building, shows . 
9 portal, in which the elements of the flamboyant style lnuxur- , 
iously mix with those of the Renaissance. On the contrary mani- 
festiy belong to the middle ages the adjacent structures. 


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112 


Therefore du Cerceau justly says of the residence of the mas- 


ter;“It does not perfectly adhere to antique or modern art,bat 
the two are mixed”. On the other hand, he says of the buildings 


of the front court;”The fronts of the buildings there being as 


mach in the court as outside, follow antique art, well arrang- 
ed and treated”. In fact there appears in these parts that sin- 
plifyins of forms, which is attributed to the stronger obsery— 
ation of the antique. Almost without exception the buildings 
consist of a Sround story, whose great windows are decorated 
by curved caps. Above rises an upper story, whose windows are. 
partly rectangular, partly round-arched, but are crowned by 
gables after the antigue. But they extend into the roof acc- 
ording to a custom then besginnins. It is now intsresting that 
in prominent places, cspécially at ths cornér pavilions, a 
Single colossal Corinthian order covers the wall (fis. 54), a 
custom that came from the endeavor to pass from the repeated 
little pilaster orders of the earlier spoch to grand and:sin-— 
pler forms. One disadvantase was indeed in the precedins case, 
that the upper window recklessly intersects the entablature w# 
with frieze and roof cornice. Perhaps the earliest example of 
this doubtful arrangement. On the great hall like a gallery, 
that separates this court from the little garden, instead of 
the lower row of windows occurs an arcade on piers, which are 
decorated by Corinthian pilasters. 

37. Chateau Ghateaudun. 

Among the provinces of France, Tourains has the greatest 
abundance of monuments of this time to show, and the tiver val- 
ley of the ;oire, this smiling garden in the midst of the heart 
of the country, from Angers to Orleans, is for France what Tus- 


cany is to Italy, just as Normandy by the excessive imagination © 


‘of the decoration of its works may be compared to upper Italy. 
Touraine was then the favorite seat of the court; therefore no 
wonder tha. besides the three great royal chateaus of Amboise, 
Blois and Chambord, there rose a series of country seats of t 
the higher nobility, which competed with each other in splendor 
» of execution. Chenonceanx, Bury, Le Verser, that we already 
know, belongs £n this number. Others stand worthily beside then. 


‘ 
; 
| 
, 
. 


He commence with the chateau od the old count od Dunois at Chat- © 


‘saudun, still recently the residence of the duke de Luynes, 27 


i i r 
ane $tt ‘it een 


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113 
niles from Orleans, The Ghateau experienced a spleodid restor- 
ation at the beginning of the 16 th century (1502-1532), yet 
without being completed. The exterior of this part almost exc- 
lusively belongs to the Gothic style, particularly the masgoif- 
icent tracery ornamentation, that io airy perforations accomp- 
anies the main cornice. Still the consoles of the latter, the 
pilasters and the tops of the windéws show the influence of 
the Renaissance. But what lends its“classic value. to the chat-— 
eau amons sO many contemporary monuments is the stairway, which 
in greadeur and richness seeks its equal. Not projecting from 
the line of the building as at Blois, nor like the middle stair- 
way of Chambord developed into an independent and isolated st- 
ructurs, the stairway of Chateaudun is within the building and 
inside it is developed into an independent masterpisce. 

from the court one passes into a doubled high portal archway, 
that is still entirely included in the mediaeval way between 


slender buttresses, which are animated by niches and rich cano- 


pies for statues and terminate in siender finials. The composi- 
tion appears almost like that of a Gothic church portal, for 
this sntire portion with its steep roof forms an independent 
pavilion, which is included between two corbelled round. towers. 
All divisions are covered by low Gothic arches, which are bor- 
dered by perforated tracery like lacs. Also the roof cornice 
is bordered in a Similar manner. } a 

One now passes directly into a high entrancs hall and finds 
himself at the beginning of the stairways Following the general 
custom of the time, this is a windings stairway, which extends 
spirally about a round middle pier (Fis. 55). It is enclosed 
on thres sides by walls, but at the fourth opsns with very flat 
arches on a middle round column, to which gorrespond half col- 
ums at the edges of the walls. But to receive the steps, at 
svery turn is made a transition to the octagon by projecting 
stones and thereby is obtained a place for eisht squat columns 
on projecting consoles or corbels. On their part these are con- 
nected by flat arches and support the circular cornice, on wh- 
ich rest the ends of the steps (Fis. 56). 

If this construction alrsady merits consideration for itself, 
the interest is increased by the magnificence of the ornanent—- 
ation, whose beauty is excelled by no other work of the Prench 


———er 


. 
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. 

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114 
Renaissance. If on the exterior all was still Gothic, then here 
appears the mediaeval style only in the form afd section of the 
arches and decidedly in the blind tracery on the middle pier. 
But the panels of the newel itself are filled by Renaissance | 
arabesques in the purest taste and with the most delicate. exe- 
cution. And the capitals of the columns, the balustrade, corn- 
ice and frieze, as well as the soffits of the arches, and fin- 
ally the numerous corbels, consoles and capitals of wall col- 
umns exhibit a variety and beauty, like scarcely a second ar- 


chitectural work of this epoch. 
38. Chateau at Azay-le-Rideau. 

Remarkable in another respect is the chateau Azay-le-Ridean. 
It attracts attention less bi: a single masterpieces, than by 
the clear and harmonious general arrangement. Located on a lit- 
le island in the Indre about 4 1/2 miles from its discharge 
inte the Loire, its exterior is substantially so well preserved, 
as it was when erected about 1520 by G. Berthelot, the former 
owner of the place. It consists of two wings joining at a ris- 

t angle, after the mediaeval fashion is surrounded by a moat, 
ne externally by battlements and machicolations, eas well as 
massive round towers with round roofs, and is characterized 
as a strons fortress, while the great windows divided by cross 
bars and enclosed by pilasters contradict this appearance. 

‘Next the internal court side thessffeidal elements are also 
omitted, and the chateau shows there three storiss with great 
windows, which in a peculiar way in the upper story extend. in- 
to the roof, and ara crowned by not exactly beautiful caps (Fis. © 
57). While the continuous system of pilasters and the numerous a 
horizontal belts Ah @ somewhat monotonous impression, all I 
luxury of decoration is also employed here on the stairway, t 
that projects in the longer court facade as a separate lofty 
gabled structure in four stories with doubled arched openings. 
Bikewiss here as in Chateaudun, the stairway is arranged insi-~ 
de the building, but its ornamental treatment already shows 
on the exterior the embire form expression of the Renaissance, 
its pilasters and arches, its arabesquefrisze and belts, ex- 
capt that in the two middle stories the depressed arch is en- 
ployed instead of the semicircle. On the middle pier as well 
as at both sides are arranged niches for statues with rich . 


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eanopies, conceived in mediaeval form like the crowning gable, 
bat expressed with the entire fullness of’ Renaissance forms. 
Among the scuptures we frequently meet with the salamander of 
Francis I, Besides we find the initial of the owner and the 
, motto; “A single wish”, doubtless the device of the owner. 

39. Ghateau Beauregard. 

About 41/2 hiles from Blois on the edge of the forest of 
Russy and on the slope of a row of hills, which enclose the 
charming valley of Beuvron, lies the Chateau Beauregard that 
with right bears its neme. About 1520 1t was built for Rene, 
bastard of Savoy, natural brother of the mother of prancis 
Tt. Captured in the battle of Pavia and soon dying from his 
wounds received there, he had snjoyed its possion but a brief 
time, and left it to his widow Anna of Lascaris. It was sold 
by her in the ysar 15438, and soon came into the possession of 
Je du Thier, secretary of state under Henry II, who made a 
name for himself by his culture of science and art. He enlarged 
the chateau and founded a library in it, of which Bonard sings:- 

“« .--—- Thon wilt recompense with many crowns 

Those books that have vanquished so many centuriss, 

And which bear at the front of the margin, as snide, 

The great names of Pindar aid of great Simonides, 

By which thou hast decorated the sumptuous chateau — 

Of Beauregard, thy work, and has made it more beautiful.” 

In the year 1617 Beauresard by purchases came into the posses-— 
Sicn of the treasurer of Louis XIII, P. Audier, who adorned the 
Sreat gallery with the portraits of 15 Prench queens. His son 
added thereto a series of portraits, and built the facade that 
lies next the river. At the beginning of the last century and 
under a new owner, the old chape2 was unfortunately destroyed, 
and which contained frescos by Niccolo di Abbate. On the con- 
trary the chateau has been splendidly restored by the. present 
possessor and newly furnished in the style of the Renaissance. 

The greater part of the building as it now exists is of bBhe 
47 th century; we have here in the first line to do with the 
plan of the time of Francis I. Du Cerceau says of it:- “The 
edifice is notilarge, but it is refined and is as well arrans— 
ed as possible for what it contains”. As shown by ths plan, it 


then consisted of southern and northern pavilions & and #, ahtell 


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were connected by the great gallery D and an arcade C lying be- 
fore it opening to the court by arches on fiers. Above an upper 
Story aithclarge windows divided by cross bars and enclosed by 
pilasters, tises a roof story, whose windows on the connecting | 
building and on one pavilion,exhibit the ornamental and sport- | 
ive crowning of the sarly Renaissance, while those on the other 7 
parts are simply terminated by the antique Sables. Two wings A, 
G, at right angles enclose two sides of the inner court B, one 
but halfway. A great irregular outer court with farm buildings 
extends before one longer side of the building, as at Bury. 

The modern tendency of the entire design is evidenced by the 
completes absence of mediaeval slements. Yo vestige of a moat 
with its drawbridse or of the favorite corner tower is. to be 
seen. Likewise the main stairway is placed in the. buildings and 
indesd it has two flights, one beside the sallery, the other 
next the principal pavilion. To the elevated ground story of 
the latter further leads ea broad flight of steps in two runs. 
Only the service dwellings, that surround the lower part of t i 
the court separated from the principal building have their : 
Windins.stairs in a projecting octagonal tower. The number of 
the master’s apartments was small in du Cerceau’s time; besid- 
es ths gallery about 70 ft. long and 18 ft. wide, they were 1 
limited in the principal wing to a hall of about 40 b: 24 ft. 
with sids room and wardrobs, connected with a larger and smal- 
ler room, in the other pavilion te a sreat chamber with wardr— 
obe and two smaller rooms connected with the side stairs and 
the gallery. A great and well cultivated Sarden, enclosed by 
two long opan alleys with the corner pavilions, as.#ell as a 
wide park with magnificent trees and alleys surround the ‘building. 

49. Other chateaus of the province of the Loire. 

The buildings so far considered contain the clements of Pre- 
nch plans of the chateaus of the carly Renaissance in sdeh rich 
diversity, that we must callect a gréat number of the smaller 
chateaus of that time in a brief survey. The common clements 
aiss here regain during the sntire epoch the mixture of Gothic 
forms with those of the Renaissance, the national preference 
for towers, angular projections, projecting stairways with 
winding stairs, and for steep roofs with rich crowning gagles. 
With these elements are connected certain antique forms brousht 


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from Italy, in that naive and purposeless manner in which we 
have already learned toe know them. The picturesque charm. of 
these little graceful works is intimately connected with the 
character of their rural surroundings. In the narrow strects, - 
on the irresular places of citics, their architecture sould 
not be good, at least of they were placed anywhere directly be- 
side the severely composed Florsntins palaces developed in mas- 
Sive forms and symmetrieal plans. But lonversely a palaces Str- 
ozzi or Rucellai would look jast as badly, if it were transfer- 
red to the banks of the Loire or of the Cher with direct surr- 
oundings of forest and msadow. Prench chatscaus haiveusaStamp of 
rural freedom, that can only develop in free nataral Surroundings. 

The buildings in the province of the Loire exhibit this char- 
acter in a particularly charming manner. Neer Azay-le-Rideau 
liss the chateau of Usse, begun about 1440 yet in the middle 
ages, then continued in 1485 and first copplsted in the 16 th 
century, a Gothic building with later changes in the Renaiss— 
ance style, excessively rich and overloaded with towers and 
hish roofs, that shoot up like mushrooms. Of incomparable spl- 
endor is the facade of the chapel of the chatean with portal 
and tall pointed window, still Gothic in design and construct- 
ion, but with luxuriant Renaissance decoration, that flows over 
the whole like a web of Brussels lace, and especially crowns 
the window, that scarcely finds its equal in grace and sportive 
pleasure. 

An elegant early Renaissance is also shown by the little cha- 
teau of Sansac near Loches from the year 1529, ths windows in 
the usual way flanked by s system of pilasters, the dormers in 
the roof with ornamental Sables. Likewise theichateau of Band- 
ifer with four round towers, windows with crossbars, fine pil- 
asters and rich roof story, yet rebuilt about 1558 by Henry II 
and in part restored. Further the chateau of bude, completed 
about 1535, with massive round corner towers, ornamental pilas— 
ters, medallions with busts in jithe wall pansls and with dormers 
that terminate in caps with shells. The chateau of Benshart, 
built about 1580, on whose dormers Gothic clements are. mixed 
with Renaissance forms. The chateau at Rocher de Mesanger in J 
the province of Maine, likewise with pilasters that have a c 
framework, with flat arches in the arcades of the courtand 


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118 
richly crowned dormers. Here also belongs the chateau of Oiron 
(fleuax Sevres) made famous by ibs fine faience, whose earlier 
parts date from the time of francis I and were executed by the 
artistic lady, to whom is also due the production of that mag- 
nificent pottery. The principal building with its two wings, 
flanked by pavilions and round towers, belongs first to the 
17 th century. In the interior the beautiful winding stairs 
dates from the time of Henry II, while a richly sculptured 
fireplace dates from even the spoch of Francis I. Finally the 
Sallery in the court with its twisted Gothic columns, with 
whick the Renaissancs mediallions beneath the windows contrast 
in a peculiar way, yet date from the transition epoch of Louis 
XII. 

Futther the chateau at youlins in pourbonnais orisinated ab- 
out 1580, with splendid court and arcades, now built up, Corin- 
thian pilasters and richly carved archivolts and spandrels. In 
the same province the chateau od Chareil, that possesses in t 
the interior a fireplace of magnificent work with ornamental 
arabesaue frieze and [onic shafts of columns, that entirely c 
consist of rows of leaves. Important then is the ducal chateau 
at Nevers, begun about 1475, a great lates Gothic building with 
an open polygonal stairway at the middle of the facade, resto- 
red in the 18 th century, and particularly furnished with a 
rich roof story, whose windows ars adorned by caryatids and v 
volutes. The old chateau of the duke of Anjou at Angers, built 
like s tower in mediaeval arransement, ornamented in rich and 
noble Renaissancs, but clear and not overloaded. The chateau 
of Valencay orisinated about 1540, with great round corner tow- 
ers, a great pavilion at the middle, overloaded by rich dormers 
and high chimney caps, ths windows flanked by pilasters as us-— 
ual. The chateau S. Armand received at about the same time its 
magnificent roof story and other ornamental additionsy The cha- 
teau Serrant not far fron Angers was built about 1545 and conm- 
pleted in the 17 th century, crected without a roof story and 
in a rather severe Renaissance, likewise having windows with 
crosses and pilasters. The masses are built of quarried stone, 
but are subdivided into three stories by Ionic, Gorinthian aud 
Composite pilasters in solid ashlar work. Also here the dry 
round towers at the corners still follow mediaeval desism. The 


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ae perenstsace armesesatasg ais desacv-ol~qeaiog 6 bor GO 
3 pee ae eetemsob tasheie avin edoiid bas etalidas 
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aah wh Piledex.f05 sé 82 ede at bowodess soc Spinach 
fetnensnr0 yiesesize sii dtiz aossal foogueeutaneh 
pial yHeldee Ato Avon Sd ce Hedengiecd. ylingoan ei 
mi ees to T4E228" hedditabetteth S03 #2 =] 66 oh wont fis 
me ett ei Devteoes yinel-saisisot meao or exzetd: .6 3 
sigeaglos ati yd do tae ,eeetova [aveaibam ade ot o 
pais deaecio ati ‘bas Bath kud tedt ead Jag ted of Anibecox: 
ea Onid Vedd Io kaikdéyseve beidsd eeves!l senod a wit 
one Qo sonst fellec-ce o43 to ened ef smae sot ssounsd ab 
Lyi @ (R0e0 wert tal Ica .Joaifod io tome ylaegors .acaish 
fn doidn seiswed, Davos ywogia ssin ogiesh tsvesibes to oni 
Jad: noifitshes excieups bas syoboltw cosaueianes siazhete— 
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qnotequoss-snieinc¥ sactedo odd osc? etnomelsied ond 
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119 

fhe chateau of Sedieres (Gorreze) is a building of the 15 th 
century, square and arranged about a square court with a squ- 
are tower at one corner and a corbelled round stwer, which fl- 
ank the portal and two sides of the residence, transformed in 
the 16 th century by sreat windows, enclosed by pilasters, into 
a Renaissance chateau. yany other buildings might be named, & 
that have experienced similar transformations. 

Ghateaus in Normandy. 

Next to Touraine is Normandy rich in buildings of the sarly 
Renaissance. They also exhibit the common and frequenlty ment- 
toned characteristics, only enhancing these by the still more 
luxuriant magnificence of the ornamentation, that we have seen 
to be the inheritance of the late Gothic school of architecture 
of the country. We name the chateau of jesnieres in the depart- 
ment of Lower Seins, arransed on a square plan with towers at 
the angles. It is one of the srandest and most imposing works 
of the time, built about 1540-1546, externally severe and like 
a fortress according to the old custom, internally with 4 char- 
ming court, surrounded by arcades. The chateaus of Conde at Yt- 
on and of Boissy-le-Chatel are picturesquely constructed of a 
ashlars and bricks with elegant dormers. 

In the department of Calvados belongs here the chateau of 
jassonand that of Fontaine-Henry, both originally of the 15 th 
century, but restored in the 16 th and rebuilt in the style of 
the Renaissance. Lasson with its exteemely ornamental decorat— 
ion is recently designated as the work of H. Sohier, whom we 
shall know in S. I[- as the distinguished master of. the choir 
of 3. Pierre in Caen: Fontaine-Henry received in 1537 an addi- 
tion to its mediaeval nucleus, which by its colossal roof far 
excesdins in heisht the other building and its colossal chimney 
like a tower leaves behind everything of that kind remaining 
in Prance. The same is trus of the so-called Manor of the Gen- 
darmes, properly Manor of Nollant, not far from Caen, a build- 
ins of mediaeval design with mighty round towers, which with 
slegant Renaissance windows and numerous medaillion busts reg- 

ularly distributed over ths surfaces, is ornamented even to 


the battlements. Then the chateau Hontaine-Btoupefour near Gaen, © 


whose elegant portel is flanked by two round towers. The Manor 
of Bello, erscted as a stone substructure in half timber with 


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bricks, is an attractive example of this mode of construction 
favored in Normandy. Then the chateau Of S. Aermain de hivret 
near bisieux is built of ashlars and bricks. 

By & masnificent polychtony is characterized the chateau of 
Aussay, 2 simple manor with round towers at the corners, with 
an extremely picturesque appearance. Of similarly -plain design 
is the chateau of Bainvilliers, a brick building with pilasters 
of cut stone, ths whole executed in the ornamental forms of &. 
Pierre in qaen of 1527-1586. In the interfor is a fireplace 13 
ft. high enclosed by little candelabra columns. High charm has 
the chateaa of Chantcloup (Manche) that in its luxuriant orna- 
mentation and its rich subdivision recalls the early buildings 
of Gaen, and mast indeed be mentioned as a work of H. Sohier. 
(Fig. 59). Then the chateau of Ivry-la-Bataille, built in 1537, 
but destroyed to the walls and rebuilt under Henry II im severe 
Doric style. A simple but graceful buildins is the little chat- 
eau of Tourlaville near Gherboursg, windows and portel flanked 
by fluted Corinthian pilasters, that are replaced by Ionic on 
the round. towers. 

42. Chateaus in the provinces. 

Aliso in Isle de France and the neighboring domains is to be 
noted much ornamental work from this charming carly epoch. 

Less luxuriant than the baildings of Normandy, these chateaus 
participats in the charming treatment, which became general — 
by ths epoch-making works of Francis I. 

Thus the chateau at Sarcus first destroyed in the reign of 
Louis Philippe sxhibits in the different parts remaining mas- 
nificently ornamented broad arches, between which the piers 
still terminate with Gothic finials, besides a richly enclosed 
window. The number 1523 of the year tsetsad. About the same 
time and soon after 1527 originated chateau Anizzy, of which 
only one wing still remains, in the mass being a brick stract- 
urecwith ssometric patterns, similar to the archbishop’s pal- 
ace at Sens (iis. 16). The treatment is simple but with perf- 
ect space, the windows have the usual enclosures by Corinthian 
pilasters, the portal is similarly treated with pilasters and 
crowning gable, the ornamentation ssems to be of greater refi- 
nement. It was originally a very considerable buildins with 
pavilions and two wings, only one remaining, as stated. After ¥ 


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gi cela bee scisinof ol .esogtveig albbhim bar oer 
etesbor bas oteci led te ts etedaom Intnsoesidosa 6 
& Gx70N Jeod edd co atnemsato squtit bas seapesdets 


wise 


£21 
ene model of Anizzy is then treated the chateau of Marchais, 
thoush somewhat more animated in forms, and furnished with . 
little pavilions; copléeted in 1546. 

Ons of ths most important designs was the chateau of Fere- 
en-Tardenois begun after 1528 for Anne de Montmorency, appar- 
ently erected by J. Bullant. But only a few fragments of it 
romain, certainly sufficient to prove the former grandeur of 
the works. To these belons nominally the sreat viaduct 240 ft. 
longs and 18 ft. wide, 73.7 ft. high, massive as a Roman work, 
the arches plainly bat expressively bordered by faceted ash- 
lars. Also the splendid main portal remains, flanked by Doric 
columns, the windows of the upper story then extending above 
the cornice into the roof and ending with arched caps. Thess 
parts were completed before 1566, as théiwhole already shows 
rather the character of the time of Henry II. Finally should 
also be mentioned the manor of Bulenux, that with its plain 
pilasters in the three orders indicates the besinnins of the 
reign of Henry II. In the interior is a handsome fireplace. F 
From Burgundy we ad@ the chateau of Bussy-Rabutin (Cote 4’Or), 
whoss court with its aréades still belongs to the time of Fran- 
cis I, while the principal facade shows the style of the first ~~ 
haif of the 17 th century, but still in a very suitable though | 
stronger treatment. powerful is the subdivision of the surfac- & 
es by Corinthian pilasters, that flank the windows, and betw- 
een them the masses ars animated by all sorts of niches. The 
parts dating from the time of Francis I present on the arcades 
of the ground story as well as on the little window sallery of 
the upper story the depressed arches of the sarliest time. At 
the angles rise plain round towers. | 

43. Ghateaus in the South. 

More limited in number are the buildings, which the southern 
provinces have to places in the seriss of creations of this tins. 
Besides these show 3 lesser understandings of the world of ant- 
igue forms. But they frequently compensate for that in a cert- 
ain sénse by their decorative magnificence, that in.principle 
essentially differs from the love of ornamentation in the nor- 
thern and middle provinces. In Touraine and also in Normandy 
the architectural members ars of delicate and modest form, and 
the arabesques and fisure ornamentr on the best works ars treated 


—— oe a 


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) exaead: efantd tate 08 ybseris dob 

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emis qonebreds e ovis el eit} .dtixersds Sestoennoo st 
Se s¥tenou0o adi Yo efusapaoa 1 neues edi 
lee sidd to eelguitze toeoit 
Iga bas eonsizoxo! ot ,05 aff ,(encd 

Bpeat ent nO .conas? [fe sk teodois 
9 eretie! fsofensis al tsdt bk eal 
oe Sgonoties edt ,etodsun supling < : 

pete Seid od? esteoibst sexi sacahibed tiogdi sedan yoa Min 

paee Cbd suiwisddo Sad .yindeso do OL edt Yo efhiin end 
Bi: ieseb eid to xobnsfgs svivwos edt ynotétecg: 
Gated edd of yvlesitns lfite ai tnemento ertin: 

M8 eadoin ert seat eid? 2! rapa ale die ; 
bi ade esisota tedgr fn 


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ed o essesii eiemet 
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| nq et to seloenos sc eotetoovEldd dt 
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xtote Bavews ea3 tavoesi0 .cizvte sdt 
Bt: aN edt ywilisivotiasq Bas 

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ee eVIuinso “te Gl: ens Yo eh & 
fea Sf Sqeooe nso ono es 2! 

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im fined feomiorste eae "te tesa fardecons ener eh etetssiasc. g¢esdet 


al 
us 


122 
in graceful refinement, so that only b: the frequently over- 
loaded richness of their use is produced the extremely magnif- 
icent impression, On the contrary in the southern monuments t 
the architectural members were formed with that luxuriant en 
ergy teeming with life, which already SO strikinsly appears on 
the antique monuments of southern France. If a bold relief dec- 
oration is connected therewith, this is also a tendency already 
exhibited by the Roman monuments of the country. 

One of the most magnificent extmples of this tendency is the 
chatcsau of Usson (Puy de Dome), Fig. 60, in luxuriance and spl- 
endor indeed one cf the richest in all France. On the feequent- 
ly preserved inscription tablets, that in classical letters c 
contain passages from the antique authors, the cartouche work 
ateéady makes itself noticeable, that indicates the time of ab-— 
out the middle of the 16 th century. But otherwise the tolera- 
bly loose composition, the sportive splendor of thse detail 
forms, the entire ornament is still entirely in the character 
of the early time. Particularly is this true of the niches ar- 
ranged above e@ch other in the sround and upper stories with 
their fancifully decorated consoles and the varied diversity 
of their little candelabra columns. The female figures ofthe 
virtues placed in them betray a rather heavy awkwardness of t 
the executing artists. Dirsct antique studiss from the Roman 
works of southern Brance ars recosniged in the showy -acanthus 
scrolls intermixed with Senii and other littie figures, abund- 
antly distributed everywhere, as well as in the medallion heads 
of the ground story, Bhé boldccornica on consoles of the prin- 
cipal story, and the Senii with festoons of fruits, which as’ 
an open frieze crown the attic. Moreover the ground story has 
suffersd considerably, and particularly the enclosure of the 
portal with the stiff fluted columns and the leen festoons of 
fruits belongings to a restoration of the 18 th century, as it 
appears. The entire work, so little as one can accept it as a 
high artistic effort on account of the composition, is still 
interesting by the overpowering luxuriance of the treatment of 
the details. \ 

Hers then also belonss the mishty chateau of La Rochefoucald 
near Angouleme, slthough arranged and executed in a quite dif- 
ferent character. As the ancsstral seat of the famous family of 


th 


‘a thee) ear Sits iy 

-toen ‘at date Baas. e1zcp. Laat ont a ane wih yirtelnuos 
teem edd to asig ec to tnemegacadis sit cainedid .anc 
gnideleses .etenos banoy gninotseids edt 2: 

. est Rninisines tewosy sic eer gen, bus nistess 

#08 Ifed edt yd betsoibal ylles gteixe yhsouls at 

emit gisee eft of n° .s neki fevesiben a Slide 

_atedt & betelqnoo sew (ESE! eit } 


ion uth 
#008 sd yd i etoaast sefon betsoexs con ‘po 


28 ark asin dake hinée Sdsz 


; ee ec0s seve dey ,erodaliw of: 
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at Sad abe 


ta inwo- 
) -fatacnzase dfin befourtenco ewobnin seatoh 


ok ted wd 


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al es) 


,enokzevele evisgszoqe vi 
pdin goiveta: ets ni ytollay taooitiakem edt 80 .eicl? to see 


“ah *9i8 at weiv s eves : tiuevbeddia hagoleveb yitol- 
) wreteslic to megeya é ‘yo Beeelons vilapreixe ei 
7 Jseizode seudt of eebace | 
ppompotiiazes bee spohas 
pia’ at sentawoss. acic yiis 
edt ofat beoteleasss cis 
Deaténer gon Cela ei excdt be 
donté ge apiseint ed tem gi 1i ae 
send wides fae yisois x! selucisrze' 
f gin yet edi 30 acivoensco edd mots 


ca 3 
te supe des 
By gdisy to te 
Bites Nesette.. 6 
et sesar ‘SH tte 
Gb .yisicce ag er odd ci heyotise? .cocent? 
meget 28 a6 iis seste siekxe ti .noltizloves 
= enode bes supuszetoiq yiterr chen gi 2 
oe 7) dein Jineo stesps Fseth e OSHL zLeey fF tes 
i ee 4 en102 Keodato ait .shie ono ta Raitostor 


to sit “ og Buoled Pata setsak d3n00 Lentodat edd) fe 


123 
that name, its origin @xtends back even into the middle ages, 
as particularly shown by the mishty square keep with its mach- 
icolations. Likewise the arrangement of the plan of the great 3 
main building with the threatening round towers, consistius 
of two wings, eastern and southern, one tower containing the . 
Chapel, which is already externally indicated by the tall Goth- 
ic windows, is still a mediaeval idea. Sut in the early time 
of the reign of francis I (about 1528) was completed 2 thor- 
ough rebuilding, that was executed under Francis II by ba Roch- 
efoucald and his wife, Anna de Polignac. fo this time belongs 
particularly the facade representsd in Fis. 61, as well es the 
Wing adjacent at the left at a right angic, which with its sys- 
tem of enclosing pilasters at the windows, yet even more by 
the splendid growning cornice and the gallery extending above 
it, as well as the dormer windows constructed with ornamental— 
ly sportive slevations, clearly betrays the model of the chat- 
eau of Blois. Of the magnificent gallery in the interior with 
its richly developsd ribbed,vaults, we gave a view in Fis. 18. 
This gallery is externally enclosed by a system of pilasters, 
extends east and south on the court facades in thres stories, 
and has not its equal in France in grandeur and magnificence. 
Above it is terminated by a fancifully rich crowning, in which 

Gothic tracery gables and finials are translated into the lan- 
gee of the Renaissance. Indeed there is also not wanting a 
stately windings stairway, even if it must be inferior to those 
of Chambord anf of i fa Particularly richly and nobly treated 
re the portals, which form the connection of the sallery with 
he adjacent rooms (Fig. 18). 

The principal work in Languedoc is the stately chataay of 
Assier. Instead of an sarlier castles, one tower of which was 
retained, it was built by G. de Genouilhac, who already under 
Charles VIII was with him in Italy, and under Francis I comm- 
anded the artillery at the battle of Pavia, and later was for 
long minister of finance. Destroyed in the 18 th century, 40 
years before the Revolution, it exists after all as an import- 
ant ruin. The whole is made richly picturesque and shows on an 
engraving of the year 1680 a great square court with a rectang- 
ular wing projecting at one side. The chateau forms a square ‘of 
168 £t.; the internal court facades belons to the time of Fran= 


fe eet, 


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fe 
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sevele edt Bissggh eetxteds6 .towed bavot eviekew blo end ye 
a eck a a doege eras Yo bre edt Fe tnord (susetee ont to 
mn II yaaek to'oetd eds ot Lfet yhacrls 
cabed Be Yc sennss' ens ci bem} et rte naeoneei ou 
oc senanios netiicized yd beanelt ut fine dove fetigoorad 
engiloc: oinol to etebt6 one. yd bedne tt Leis fasta f ene 
on nese Gew toln.edg at ai cee thed eroivos sf Progqua 
deh’ Battice? eldcsq exe ekobein ou?) .T bionss? to evtaie oe 
ie waver Gi bessows wtaeq coldest Bie edd seste etadazgas 
ted ousiat ezine tpi oat nf sidgizene? .asok Iaotreslo 
2m nr esiosnso yviei yd honrobs at vent ,ostesce teon 
‘Syizece manta: Boe eoceron ge84 Biesoos esc cesd? Ifa of 
ehh pasno! etd ce bestentigms sve ow seat eee ve 
“O8 gan solved ywode eid? .teethlicd ovettpor eseds 9 
> Bonen Efe sid cd enfe bebks BET $f axcle? ont otis fang 
 ofesti ofc} yd bedosl? ere tvobrin semech set cee 
—" wednlev wd tninwesd & wore 
“wanes fae fetcensnce -Hnetale stem a args 
cane Serey Poltecup soewsiy vst ines ; 
i Sasi BHT syst ‘esino 
Saf te betanes oy: 
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oe | iB ucttercosk toi: 
roo RE toetegct tetoes 2 3 
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lewebnix edt ccoted. pisnse flaw ode 47 ene 
s dein enoiifatem nl exeseqns menos 
gi nsotey: exe Hott ni eese fos cas tdw= 
stone ya erorercnn sts abel soggy ef. 
7 Baoitst Gbts ge casvsd & 
mis fsint en? bas ameiine 
RY  Blode Sas Egehio sotates 
Fo: "te foteet? sore t29 ah wa? Shego typ 
; “4 uoiditte sézel s ihe”? Ng ue nsi 
oanheite BI (Satg cht revo .e20ttcs Sibae 
fea -senmplod oiacl aniioetets yd besolone me Sand): 


ee 


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124 
Francis I ag well as a part of the exterior, that is edjoined 
by the old massive round tower. Otherwise appears the elevation. 
of the external front at the end of this epoch, if it does not 
already fall in the time of Henry II. 

The principal portal is formed in the manner of an antiane 
sriumphal arch and is flanked by Corinthian columns. Above op- 
ens a great niche flanked by two orders of Ionic columns, that 
Support an antique pediment. In the nich was seen the equestri- 
an statue of Francis I. The windows are partly furnished with 
crossbars after the old fashion, partly treated in severely 
classical form. Remarkable is the hish mixed frieze beneath the 
roof cornice, that is adorned by heavg consoles in Roman style. 
In all these forms appears that pompous and rather massive mag- 
nificence, that we have emphasized as the characteristic mark 
of these southern buildings. This showy cornice was so pleasing, 
that with the frieze it was added also to the old round corner 
tower. The dormer windows are flanked by Ionic pilasters and 
show a crowning by volutes. | 

Incomparably mors elegant, ornamental and richer are the co 
ligr without guest 


ed at the corners, tosge- 
g ikewise thsy wers flanked 
by phlasters that were scoration, and accor- 
ding to a favorite custom were connected together in a contin— 
uous vertical system. Hxtremely rich is the animation of all 
surfaces by reliefs. In the wall pancis between the windows a 
esn 12 busts of Roman emperors in medallions with sarlands; 
ss salamanders, smblems and arms in rich exscution- Bene- 
of the upper story are numerous nythnolosical 
@ termination forms a high friege like an 
. h are smblems and the initial of 
sant dentil cornice crowns the whole. the 
3 ® great arch, flanked at each sids 
by three Corinthian columns, manifestly a later addition. The 
soffit shows splendid coffers. Over the portal is arranged a 
loggia, that is enclosed by projecting Tonic columns. The whole 
bears an unusually fanciful stamp. Beneath the devices of the 
omner is read the rspeated motto:- “I love one (woman) muck,” 


ordins t 
ther with the divisi 
+ 


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moses. ,se8esigesit Bitseles Bar eyertiste {otisaesd atid 
if ii soncesicned gistse tole cals ted bétiidens, seduoace & 
Se & wi (tod) e169 6G asom LatnoM: nsedads yd o¥vode. 
)asvetenos JI sbS6Ll etdied neve sliced Sus {lidis oo scott 
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pine bawory odd asowsed: seeks) Joifor sasoitinnas « atin 
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ff becscte oie eetacte seqgn bos sencl ed3 aceuted. adageség 
selettiac’ lensite ~eeppeedets yd hotsrcoeh eselai sete 
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tibe Gus Gtedesiiq yo heeclons ets ted? .enolti{aber ni 


Ttogotg goed oelnon and dtix BAAEDIOGE at 
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13 Rieovaktets dtiw aoalger tt doig & etickdze 

P Sidsdindes & oi sedte dose eveds eoiits out yo beawoss 

| veucivaxooeh dasselo. Bae wate yo Sotaemaoic yidois gtod 

ib Sodéax soll doidy ,¢1e Istonivoig o ef atts tedt nose 

e8G701 ed¢ Io Sntkastaseban bas esotges woud 

Bfonine eelitebined to pentsdo) eds sanofed onla 26k. 

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Miguco xexen bay sovewod ¢sds \bolblind wen ® bsbSs ony | 

esedate Ses naetado ef% Io sedasai edd oc wobin. ost aim 

by seiseial edd .onfg otenpa ylares s cad 3 senosnen3 to 

Stes Bavaseaag: ifex {fits edt bos, yautiste yleteate s\ to} 

Hdols eit, ins Jocanmiar Sao ag lntscueer eat “ited 


+a 


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125 
where a double sensc in intended, that results from the near-— 
ness of the twa last words (“I bove fortune”). Besides there 
is found as a humorous confirmation:- “Yes I love it just as 
it was in the beginning”.). The interior of the building exhi- 
bits beautiful stairways and splendid fireplaces. 

A somewhat unskilled but also rich early Renaissance is then 
Shown by chateau Montal near S. Gere (Lot) in a pleasing loca- 
tion on a hill and built even before 1534. It consists of two 
‘wings flanked by towers, but was, never completed. fspecially 
rich are also here executed the court facades, particularly 
with a magnificent relief frieze between the ground and upper 
stories, as well as notable by niches with busts between the 
windows. Then follow the crowning gables in Gothic form. Wind- 
ows and doorways exhibit the straight lintels rounded at the 
angles, the former also having a division by crossbars. The 
enclosing pilasters partly have elegant ornaments. The window 
parapets between the lower and upper stories are adorned by a 
high frieze decorated by arabesques, sirens, initials and en- 
blems. In the upper story are seen between the windows busts ~ 
in medallions, that are enclosed by pilasters and usly steep 
Sables. In accordance with the nowise happy proportions, this 
lends to the impression of the whole something restrained and 
unskilful. . 

In the interior occurs a magnificent winding stairway, whose 
ceiling is entirely covered by elegant ornaments. Then the sr- 
eat hall of the chateau, which has a Gothic ripbed vault on 
corbels, exhibits a rich fireplace with arabesques, frieze, 
crowned by two attics above sach other in a remarkable manner, 
both richly ornamented by arms and elegant decorations. It is 
seen that this is a@ provincial art, which liss rather distant 
from sources and understandings of the forms. 

Here also belongs the chateau of Bourdeilles (Dordogne), sub- 
stantially a mediaeval buildins of warlike and fortress charac- 
ter, to which however in the 16 th century Jacquetts de Montb—- 


run added a new building, that however was neysr completed. She 


was the widow of the master of the chateau and sister-in-law 
of Brantome. It has a nearly square plan, the intericr notable 
for a stately stairway and the still well preserved “solden 
hall”. The beautiful paneled wainscot and the richly painted 


siciigies 


AC a 


tary ar , P 


sto blo at ita oath, sbomestae vidsid 
nod. Becotines ed tenm ,otat@ edt to notesces 
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wooden ceilings are highly esteemed. Finally the old chateau 
at Pau, now in possession of the State, must be mentioned here 
on account of its parts executed in the most luxurious style 
of Francis I. In its mass it is a massive and gloomy Gothic 
structure from different times in the middle ages, mostly of 
the 14 th century, when was mentioned an architect Sicard of 
Lordas. To the colossal keep built of brick and the other three 
medisval towers,,thatiin a varying way are not round but square, 
there was recently added others by Louis Philippe (since 1838) 
and Napoleon ITI, so that the chateau now exhibits no less than 
Six towers. The parts here interesting us were erected after 
1527 under Henry d*Albret and his wife, the highly cultured 
Margaret of Navarre, the famous sister of francis I. To this 
belongs the magnificent dormers of the court as well as some 
portals and windows, that are counted amons the most graceful 
works of the time. Not merely are all details of that sportive 
charm and abundance of. imasination, which animated all details 
of that tims, but the wealth of sculpture according to the cus- 
tom of this sonthern school is so sreat, that even the eross- 
pars of the windows are entirely covered by sculptures. In the 


interior is notable a beautiful fireplace. Confiscated and des- 


raded in the last (18 th)century) the chateau was utilized in 
the Revolution as a prison and barracks, only experisncing in 
recent times a complete restoration. To its highest charm bel- 
ongs its wonderful location. 

44, Ghateau of Bournazel. 

To the beantiful publication of A. Berty we own the accquain- 
tance with a chateau of the Renaissance, nowhere previously m 
mentioned, in which has been regosgnized one of the most compl— © 
ete and model creations, whose number is extremely limited. We 
mean the chateau of Bournazel, that is located not far from 
Station Cransac on the railway line of Rodez-Villefranche in 
very romantic and hilly surroundings. One of the chied officers 
of Francis I, Jean ds Buisson, who was wounded in the battle 
of Ceriscollses, caused it to be erected, in order to rest there 
from his fatigues. On the building is read the year 1545. In 
fact its architecture bears the character of that noble -beanty, 
which the charm of abundans imagination of the carly Renaissa- 
nce moderates into the expression of a harmonious peace. As 


mit 


* rigs jerian ends as Been ef 


bit 0 votsonns dt betedivtes ovle 
-tese ‘taebon fre ne beset 
edit, yao dad of fe pardon 
a 8 tagie J tet piala oid 
peizod eif .tasllog 
“ehasts gasoinoh 


baw. onek te $22 


tote wehe ¢ 


f 
“setn0 cad ics! 


“a 


w 

198 

eebod bevosaace 
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@ 4a ee ne 


ah Dp 


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i 


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SAA w 
CE2oLgF 


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127 

creator of the building is named an otherwise unknewn artist, 
G bLysforsgues, to whom is also attributed the erection of the 
chateau of Graves. But even if this forgotten and modest mast- . 
er of a remote province had created nothing else, but only the 
chateau of gournazel, there is due to hie with full right a p 
place of honor beside hescot, de 1’Orme and Bullant. His buil- 
ding bears the stamp of a powerful dignity and dominant sgrand- 
sur, in which are plainly felt the deep influence of Rome and | 
its antique nobility. 

The chateau was doubtless intended for four wings srouped 
around a court. Of these were sxecuted only the longer northern 
and the shorter eastern wings, as well as part of the southern 
ons. The latter contained = great stairway with the principal 
stairs broken into four flights at right ansles; in the east- 
ern wing lie the principal rooms, especially a ball 45 f£t. by 
25 £t: the northern receives a series of living rooms, that 
end at a second stately stairway at the western end of the 
buildins. This is also arransed with streisht flights in the 
tendency of the new time. On the contrary the middle ages are. F 
recalled by the two massive round towers that flank: the outer | 
angles of the building. 

The architect has given to the external fagaddss the etude 
of a serene and almost dry earnestness. The walls are built of 
quarried stones, and only the windows and their enclosures ex- 
hibit elegant ashlar work, with the arrangement of pilasters, 
Tonic in the ground story and Corinthian in the appsr, with 
Doric in the roof story (7). These systems are connected toge- 
ther vertically by pilasters diminished like stsles, that in 
the upper story develop as rather affected hermes. This entire ; 
composition is not to be termed happy, by sither the proporti- 
ons of its intimate connection. So much mors astanishins is 
the effect of the facades of the court. 

fhe northern facade is lonser and shows five wide divisions, 
that in the ground story are made by Doric half columns, in the 
upper by Ionic. Bach of these enclose below and above a window, 
sometimes in two parts, somstimes narrower and single. Above 
is 2 roof story, whose windows are flanked by Gorinthian pilas- 
ters and crowned by sportive sables with edditions in the sense 


of Gothic. 


Pity ea 


: 
j 
4 


r. ree | 
0) See 


oa g ar mM he a ee rhs VE yi ie | id Ht 


We Guey v 


di ct =. Pine Bab eu eft i edt Yo doe yfno ott et elat 
eae ie suchale ent .Siyte won edt of gnofed alleteb 
| pds: tk base .ofs0e0 xd vists Savorg ent ni boselore ers vets 
spttoc. ens ettl scidea bicd yd benwoto im heat ofmel yd 7eq 
Mme OS201 ceed? [12 .eninagoisa eitsid -neviz nove eta doldy of 
peve-ers yodt ind finondacs | 
nd fig s2cted tae sic sini 
. spwobain sd secions gad 
| 1 ett So noteesugst Be sninamadess 
: 1 uottarceet edt To demmauneh 
‘porzssc geinp edt of 
Bones9 wet yrev x0 es 
pees poieveb ylisofeasis esod 
m  Wtote Honors ene ni awobs 
sagen edd at 
By) , OF wort betes 
ysode Boborb oad te eeois? 9 | 
phtatasess9s7 30 Yewisav gidivesagxes 
iopedosovino jelfmie xo ,sdese 
rd gonvoe tien aove Bos .ecogesn bre 
= Sit Wein sointce cis 
Biebos ‘eoptiae: ae Jeon 
estan ievertidoss: ens woisd ip 
reese aoget 202 sexe? soloe: 
“opel Sabsa9 esi at béricks 
passed yaig fine» 
‘Yelie daivs eked , noisgasexe 
Pasenqivens 
ie jedi enesces eit to cromdeont oat 
oe ati dttw orestion ese Yo. toomegnas zs 
Boveseotiiniss evi fas eampiod: tied Jicol ft 
f actavosoxe aot o¢ rege bespeqsnenn &b 
Bb ico. So gnesehnaite sit to-eee intisused 
page obix yd srobatw {pate sit ederses 
epEscst badoxe S596 at Unve ome seve yweaT .2onsia yd hogan 
eq eT, peiiin est. to sesrxeids aldavebienos cut yd 
. ‘Bearret Si ..37. 6 tocda 20 acifoetotg 2 si crveden 
° reeeerens ed3 etoted ubaetxe tsdt ,eyezesq ii 
on 889 vselvotdaed weioigeals Yo qaate. edd aces 


iar 


vere 
ia 


a ike nie 


128 

This is the only echo of the middle ases, and here &lso the 
dstails belons to the new style. The windows of the other sto- 
ries are enclosed in the ground story by Doric, and im the up- 
per by Ionic pilasters, crowned by bold gables like the antique, 
to which are even given little acroterias. All these forms ex- 
hibit unusually fine and elegant treatment: but they are even 
mors imposing by the beautiful proportions and before all by 
the unusually wide wall surfaces that enclose the windows. This 


chiefly produces the truly distinguished impression of the buil- j 


ding. To this is then added the richness of the decoration, an 
abundance of relief ornamentation, that like the quiet bearing 
of the whole is so happily subordinated, as on very few French 
buildings and only as the case on those classically developed. 
Already the entablatures of the windows in the sround storw 
have high friezes with ox skulls and shields in the metopes. 
Hach window sable further‘encloses a bust imitated from the 
antique. Then comes the great Doric frieze of the ground story, 
in whose metopes is en inexhaustible variety of representations 
in relief, decorated shiclds, masks, ox skulls, cartouches, el- 
egantly ornamented armor and weapons, and even free scenes in 
relief. No less magnificent is the main cornice with its row 
of consoles developed after the mest slegant antique models, 
that.in a remarkable way extends below the architrave, white 
a smaller cornice with consoles forms the upper termination. 
Between runs a hisher frieze, adorned in its entire length by 
magnificent acanthus serolis, in which senii play beside richly 
opnamented masks. The execution of this lavish rslief ornament 
must in part evidences unsurpassed mastery. 

Yet more important is the treatment of the eastern facade. 
It follows the arrangement of the northern with its elegant 
fluted Doric and Ionic bhalfecolumns and its magnificent corni- 
ces. But what lends unsurpasssd dignity to the sxpression is 
the incomparably beautiful use of the arransement of -columns. 
Those in pairs separate the sinsle windows by wide spaces ani- 
mated by niches. They even are sunk in deed arched recesses f 
formed by the considerable thickness of the walls. In the upper 
story, where is a projection of about 6 ft., is, formed thereby 
% connecting passase, that extends before the windows. Alsoongh 
hers all bears the stamp of classicism, particularly the nople 


‘ 


——_—— — 


ee eee est ie, Ke pieck een a aa Se 

esasoloes toc itascisesvees foriduasd at dotuw \seetene? 
Didasil Yo aclasesqxs oft esdowa saz Yo efittoe edd o¢ 

o aus H2in ob ct. sved ow .ss0ted beteta ch acbsslge cides 
Pyd Belt? at ofm ,doet teaft sdf. to wean a Yo. nord 
gxe sad bus sokststigqess deest diin eaoG io anolens 

rm ice Sot Bolbliod iaeottiches « ab baifeed oiseises 
to osid ad ‘Yo aneisstueyaeh add yletansccctal .yolisy aia 


eUisigves taswotom elbtt doauds cale ecapatener 


rosettes, which in beautiful conventionalized enclosi 

to the soffits of the arches the expression of light ck 
noble splendor. As stated before, we have to do with the 
tion of a master of the first raok, who is filled by the 
essions of Rome with fresh inspiration and has express 
artistic feeling in a masnificent building in a reuctene 
ain valley. Unfortunately the devastations of the ‘tine of 
Revolution also struck this monument severely. — 


4 


( 
‘4 
‘ 


PAD We Teal, 


’ ¢: Thy, { ’ + ed ) 
‘oe Te aie My R21 Fst , (are f 7 Pak : ihe 4 7 A ia eeu oy 
Te eR) ea ee Oe re a TE Mala a ewer nee te Loe 


ata _ PO eek 
Iioeess sabay ebantetanen .? datases 
(epbolalinod egid .5 
eenntht tad: yiio to eekosad | .éh 
dotde notes lagod an? to enegelo ‘wswertis cad of 
“bets edt siddin belétee bed noe. elbtia yites acd ecate 
Widows sd? Yo ytiedevib edd ehncgeesies . ditto ent 
bits qatinos oft % eelten eucteana ont tacit .ergieeh 
aseantess deenseseq thet bed veldetveace tastaoqnt eon 
Be ,acotiveig cit wt esliiioc weprel ‘edd ok ¢tod , e590 
oad aoidw ict .seonebriss Scent suives af ylsalvoivagg 
#80 wcitstiel as edt even (nokener)*Lotowhroy edt aver 
des Poe ofsoe beceiainih & ae fey ,beededo cat te 
fede Bead .easeteh tect Sedainolec einomele ant to ¢ 
Bootie « vind west Biadwsih atady diiw'eteom edt: | 
F ytice edd modt. nofeaecss Ene nolvnteges Destin Bib E 
Mave ods Io segekse?s 2 yilesues . . 
“ Be sevitsoserx: eke actide sex elody 
sso peeee cde tot fue ,etoemeltied yd bo ae retie 
fe ext west daege-feosig vax ha vel sd 


ex 


hay 


8, wood’ axl? yiad- 3007 of Fined 4 -Vd II wort besdavaqes 
eds bovace tention g@ Bsoor dove 


+0 = ; 


i Teen 8 sid os + 
¢ ; ‘ieeeibaesee fii Caray 
St esi yd Gcbat Ena  escente 
. iB POTS2I6 FI smi? esee ens 3 
BP \encbsea Sue akon i batag 
a esans 

Pier tstuaee edi ni .enotsaen bens doce Te yeaa get labon 
“ a pias Yo Sldon Jnentme se to eonablees ysie std et ef! 
mt enc fo eiettevo soaebigey edd ei yaoi Yo nokenem end 
; této edd cede ybaetls dud wytinuoy ed te etodda deetnery 
van Siterccteizns gets hedatiar yatiser emoosd bed tags 
} need eerpoel hoe ,esvidesacesige? Tdeainong seow esi 
te ot sed? .gotilewb @ eeoteod ni soterem efAé ci bede 
84t dwin bessqaoo woldednemento dots bas tuemadace 
Pyembor eit Yo soitudinvelh edi nt .eeldon hedetoynésatt 
Hast fvesg beedt Ble efaoe Beoohes 2 fn tididxe spoliltod 
| eying <si9d beiif bed aboe? edt Yo encsad sdt dofan 


1390 
Chapter V. Renaissance under Francis I. 
C. Gity buildings. 
45. Species of city buildings. 

fo the differes classes of the population, which already 
Since the early middle ages had settled within the ring walls 
of the city, corresponds the diversity of the architectural 
designs. First the numerous nobles of the country and also the 
more important monasteries had their permanent residence quar- 
ters, both in the larger cities in the proviuces, as well as 
particularly in Paris. These pesideness, for which the French 
have the word“hotel”(mansion) gave the an imitation of the 
castle or the chateau, yst on a diminished scale and with the 
Omission of the elements calculated for defence, thus the tow- 
ers and the moats with their drawbridges. Only a strong snclo- 
Sure, a dignified separation and recession from the noisy traf- 
fic in the streets was equally a tendence of the aristocratic 
occupier; therefors the whole was surrounded externally by a 
hish wall often cr i 
ons the residence when possible was placed epart from the stre- 
et, separatsd from it by a court in front. Only the room of the 
porter and in any case such rooms as rather served the public 
traffic with the dwelling, were attached to the outer wall. At 
the rear men liked to arrange a sarden, in order there to be 
free from the noise of the streets, and there by its green , 
its flowers and tress, at the sams time it offered a friendly 
recollection of the sardens, parks, forest. and meadows, that 
surrounded the chateau. es | 

Wie have in the preceding epoch ((.13) learned to know some 
model sxamplss of such city mansions, in the mansion of Tremoi- 
lle is hre city residence of an eminent noble of the court, in 
the mansion of Cluny is the residence quarters of one of the 
Sreatest abbots of the country. But already then the citizens 
that had becomes wealthy imitated that aristocratic custom by 
its most prominsnt representatives, and Jacques Coeur establi- 
shed in his mansion in Bourges a dwelling, that in stately ar- 
rangement and rich ornamentation compsted with the mansions of 
distinguished nobles. In the distribution of the rooms these 
buildings exhibit at a reduced scale all those peculiarities 
which the barons of the feudal period liked here, and to which 


a 


PEt ma “Fy 
Th ae , tie 


Hi taorestit o emoot Basventeo relate: -Aeweseno0a exon x yeaa fa 


ile ected «wrsileh @ e& bobastxe astitn fled segsal s 
OM YO etenct gaivostc1g ps bentatdo ylioide \enctseotananco 
/aaedt sie Ohmi seven sw Leqetic esnod s celAk .aaiedge Sok 
i a snofdon aft: to ante 
, ab; conc? ai iiss cele aedq edt to wenkl bavesy ceed? 
Setek cos xiveciinas smcosd bad yest .T:elonarsag to seis edi... 
p seni 80. cy noitan odd Io emotens bas etil oft dtin nev 
| eat ai Berinscc retteetotenasd tagoxcd? ylro set cou on 
oa bow) mont tiersi boznol ylisnbacs coins [isp sicoeb te 
ee sere ,Souseeiznes edt to enzet & et. cai 
Woeiesssixe ns ni nstio eiins ,oustoctidos 
50 nod to esen sttuco edt te enclg eft vind canine eviteic 
slwaial & Bae. .actavetgal Isinesanctr: akan S smunioo so eteky 
eemocs Hades to coticennos evolSoamoo adi s0% evis 
eaness yrseeoosn s ee sosing, edd nega notenan odd mont | 
ietem 2 cl Satbited tals to etaeasle add seddant beyolaveab 
wnt aennss wiisinvecaé scets g1 eJnugsehneuss Rsonedane 
HOR ods eveds Beeis yoResanog ali se Holenem. odd to watg 
~eaeio Oigacoosais an tad? Yo coitisog Issisifog: Bas 


it ceil dealt ced BE ab edaleg fd) (goltgsonce done edd of 


q-ous 10 ‘eaage per scsctetesT .eoteisvce efi te sssebiess, 
P anclugen Mee cele ted .vetsolie? esd * eweod sit Yo 
> aieds aren .dotasd sat so sis 
belay Temyei stew yinhi*revor 
fides t6-eqodetd Io esencbies 
ost settib yiletinesedve fon © 
eat oF Sudgegsaco Tees Feds “ino acter ; 
jos yievisnctxe saom bacnsiqg ete .blodoencd neatearg & 
Se hesflseigas ed teow sevexos taieg sad .ylhsast esco 
8 308 hetelsoleo jlat asety & to themebusase gdd yoitniso 
hestidmoess egeioce s0% bear sex tadt'. choltifemseldatcbte 
yinglosovoa bo. echt od3) doitin af Saez jabaid enoicsv 
be Fe esotosge 6a¢ osls. bed rooe neat ified ckat .beihod 
| moos ns San slodigecy.,emoot shiz .amcoy PisEbshos fo | 
Z ovph Haste. edit of Bel nooe si. yiietosges fna ptlueen 
Ht fovicoe: gon0d to yentiedy eng sa Hoisw yyautigees. sit Yc 
» gpa esi to eeag0d ent at .eocetacqni stglzottesg 
3 bas bekoaw; 102 bani dhe! dneifeorn boxed PANRER thoes 


ie “a 
> aie 


“ag 4 


134 
whey were accustomed; simple connected rooms of different kinds, 
& larger hail, often extended as a gallery, before all numerous 
communications, chiefly obtained in projecting towers by wond- 
ing stairs. Also a house chapel was never omitted in these man- 
sions of the nobles. 

These ground lines of the plan also remain in foree during 
she time of prancis I. They had become manifestly too interwo- | 
ven with the life and customs of the nation to be lightly giy- 
Sn up. The only thorough transformation occurred in the domain 
of decoration, which gradually loosed itself from mediaeval 
traditions and adopted the forms of the Renaissance, just as 
in the chateau architecture, and is often in an extremely dec- 
orative treatment. Only the plans of the courtr were often on 
piers or columns a hesgher monumental impression, -and a new mo- 
tive for the commodious connection of the rooms, 

From the mansion grew the palace as a necessary result,add 
developed further the clements of that building in a merely 
Cnhanced arrangement. It rises tncacsimilar manner above the ; 
plan of the mansion, as its possessor rises above the social i 
and political position of that aristocratic class. According | 
to the French conception, the palace is in the first line the 
cesidence of the soversign. Therefore men speak of the palace 
of ths Louvre, of the Tuileries. But also the mansions of those 
high dignitaries of State or the Church, who in their circle . 
exercised the rights of sovergéisnty were termed palaces. There , 
especially belong the residences of bishops or archbishops. As | 

tated, these do not substantially differ from the ds- 

@ mansion, only that they correspdnd to the neads of ; 
er household, ars planned more extensively and developed ~~ 

ly. One point fowever must be smphasized as charact-— ht 

; @ arrangement of a great hall calculated for a con- 
Ssiderabic multitude, that was used for solemn assemblies of ; 
various kinds, and in which the idea od sovereignty seemed en- 
bodied. This hall then scon had aiso the spacious arrangement | 
of accessory rooms, side Pooms, vestibuls and anteroom as a : 
result; but especially it soon led to the grand development : 
of the stairway, which as the stairway of honor received its 
particular importance. In the courses of its development the 
Renaissance found sxcéllent opportunity for varied and srand 


wg arian 
mee nren aN T eakeeend Lnresoe9 icone akdé ye ties to enottrice. 
Sar afd bateerteco st seonebise: olgeiseteles eesdt oT 
be fo agotsmun sdé to evidetneee7ge? as 3niilerh e*aertiio 
68T cetlzeisg {sicsenbal Sas efivn ene ot beanolad. tard 
Bei Hedeioyniteih ybsorls sone elbis 
Bubsviont efT .nciveveie hans asig te 
ig fepbivital -doas beiloeaqai ) 
eresezes ot Oboe ehesn cwo ete 
piaedxe . edt me yllsoisebsene. 
“anedéacn edt 206 esitio Isinte 
pate evi beessiqesi.o 
a6 eyotain shir - 
iets edt .teo7ta. | 
MA ymOS? edt2l = ofat yLto: 
ee 8 Bs bebasits vies 
Mdedigay! tiues edt of fe! 
“3 Shee gots s0t amoot ne 
B Baestitio edd at fend elndit 


om pt 
ve 


teledetir 
ee 


i 


» 


i oF aa oo eee> bap bee 
et et Ne! ee URS g@ewu dos ¥ 


> % Map eer 


g ¢ HOU TP 
idles ced. | Tle bd 


Hm th 


A 
MAA 


oak yoideas e*etdon 


p new tess Wrote s89Gg0 

$ evods. ben dedt- bre | 
[ sdecste ed3- duen moor legicaixa 
steel ead. aod2%0% 
Mbedeado eta wesbot 
| Sieenps7t S28 gaetd) .owobniw cbcef 
Sga yout \.cthin etttae 
molvoesuco ni sd of 
mene oi fesevet ef youeiaad 
ig te8o gion: sedeis tfad ens 

eee Guosseun oct .emtt 
bg) oe Lagat he eves ocid 


Ba ym # 


Tot 
Oe tne es 


Cana! 
ev os od 


~~ 


: 4ith oT. Toles 
peat? syed: 


Sait eqgon9 


+aaec 
Vee lus 


# senes edz 46 coitevels Sce paic 
tie vitis on B enonw ..aceed nt 


aRLL to saemyotae sidetrelmes end 


Boo sedte1 Ens. 
© ttines edd ofni 
eas) mci? eceseg 


mM forexk edd to yertoch page 


bets iwo ei eran’ 


eldiesog #26 doom we wer 


eco sizt es sh 


ia 
whe eA 


132 

solutions of just this architectural programme. 

To these sristocratic residences is contrasted the simple c 
citizen’s dwelling as the representative of the numerous class, 
that belonged to the mercantile and industrial pursdits. Tab ? 
citizen’s house of the middle ages already distinguished itself 
by the diversity of forms of plan and elevation. The individo- 
alistic character of that epoch impelled each individual to 
Shape his dwelling according to his own needs and. to express 
the arrangement of the interior energetically on ths. exterior. 

In the great commercial and industrial cities of the northern 
provinces, reference to the public traffic impressed its stamp 
on the house. The ground story opened with wide windows or sh- 
Ops, sOmetimes with arched porticos on the street. The sntrance 
lay at the ground level and Sed directly into a large room, de- 
voted to business visitors, and if necessary arranged as a sales © 
room. From thence.a narrow passage led to the court lying beh- 
ind the house, beside which were often rooms for wares and oth— 
cr Supplies. From the large vestibule that in the citizens h 
house took the place of the hall in the noble”s castle, led an | 
Open straight or winding stairs to the upper story, that was 
reserved as a dwelling for the family, and that had above the 
vestibule a correspondins principal room next the street. Kit- 
chen and bedroom lay next the court, and further the Latter is f 
mostly placed in an upper story. These houses are characterized 
in the facade by numerous large windows, that are frequently j 
divided by narrow piers and occupy the entire width.iThey. open 
as widely as possible toward the street, te be in connection 
with the traffic outside. This tendency is favored in the nor— 
thern and esntral provinces by the half timber work that prev—- 
ailsd there until in the Renaissance time. The numerous small- 
sre divisions caused by this construction gave an impulse to ths 
use of numerous windows. 

Otherwise are formed the plan and slevation of the house in 
the quiet farmins cities or in cases, where a wealthy citizen 
erects the dwelling for the comfortable enjoyment of life. Here 
the regard to public traffic is omitted, and rather occurs the 
endeavor to withdraw as much as possible into the family life, 
isolated from the outside. As a rule one passes from the street 
by a Fiight of steps to the closed doorway of the sround story, 


— 


ee 


ae ee 


A gt et Rage rE, 


ertotai s aaa to ie ‘ote ‘evede ey tat beosio 
B seute encane gad? of helile exteret sovenod roltadiatedch 
ed. wtol qeob. ine worzaa se fetoere eta uegnod odd nedt 
aks cmc: hentstdo ed od ak babddgtl ¢adt og ysedto dose sb 
. weéenod seeds to yicte Ensesh of? wtas0o ase2 set bus te07 
i$ mT smmoor sxote boa asdodid jeocysng eoiviea of betoved 
| sbelizote sega ead of asisde edd ecliosle cist eladivasy 
opel te wt0t sh? .elimel odd to ewoot Snivil sat ee evise 
pa Yo ccitibbe ed¢ evinzeq detbftad Yo beid etdt to eain 
¢ 02 Beaze1 2 coonivetg asescece edt oi ylod sewodais sa4al 
@ seNe? Shea od ot ancbg sn ent eloqmoo see 98% tc 320d tacay 
mee . . ) » (iiss? 
00703 ei sieses Tasmegnazt2 ed? Yo eball- besow seed 
peed goiseh nove aserod “eassidio te oxtoegs taeteTiie edd 
rhb eualo aesitio oad qbactie sonte cel? soveceia 
to en7cTseds oF seve cencisibsed eat as yikaeowte Boe 
a sal deon edt sec ojni ddgsoid Sad dooge oidted od? . 
980 secuivetg elbbic Sas sisctsen sit stk et 
98 Eds SevVoldtcK todais Lied bowise visois ni aes 
Ee ate yous Becrved viebiu palitoetotq ano ,otaiden to 3 
i f yiisiorges JeSEIInn0o Tedte eh rswacd baifgoetoraq to 
Pes er ‘Ome eee Stic). 247 Yo sotheyt edt .endagmed~ 
| tveeicea asm scoitomivanco tafdes to 3non rsaaan & BeDD! 
9 ybneexc! Gree iicu wa sogads tedudtoce %6 excises ede 
ae pease teneh Sd¢ dai eteegqe JI .ocitorxtedce usiad ant ba 
; BE m82, ce wgeoass? af ylisocideisus sottel end. acleves ot belt} 
im beseart een golstouttesco taifes yieticos 2dd.00 wood on 
ete Bue fors.e yicvex go. Seoasinmages si bas. ,someastes 
Aeotdgsshoes ne teery: & hensatdo cals tnd hash teks 
aed oeis ensn olyte wan add to eect ess yllegtt. .cot 
ag seoonivetg crsdisem end af acttonisecop, tadmid “Yiad oa 
- end of asad2 ‘Fo Ae eovs Tpodvin sey .yhbaewi0cK ol visas 
ys: | fers 
MF ebxtbiiod seons pan Keiinem of sved on: eileat® 
Katnemnnom 2 besiepos enesitio es2 to, Raifee? congas 
sed yo Hooseisiny od yam ise ,eiied Itoupes 90 ytlo ode 


ane 
sron 


PR 


ice 


be elbiie edd to agoksifaat eds of eetiio siz te coy * 


.888e Sved. ew as .Wandaes ef Of o€% to esheosh. deuit 
rane pares tetic Si hal oidsod Sao Gh ylevienfoxs, siind 


133 


placed considerably above the lelve of the street. The internal 


distribution however remains allied to that mentioned above, as 
then the houses are erected on narrow and desp lots close besi- 
de each other, so that lighting is to be obtained from the gt- 
rest and the rear court. The ground story of these houses is 
devoted to service purposes, kitchen and store rooms. In the 
vestibkle here also lies the stairs to the upper stories, that 
serve as the livins rooms of the family. The form of plan like- 
wise of this kind of buildings permits the addition of numerous 
large windows. Only in the southenn provinces a2 regard for the 
great heat of the sun compels the windows to be made fewer ana 
smaller. , 

These ground lines of the arransement remain in force for 
the different species of citizens” houses even during the Ren- 
aisseance time, since already the citizen class adhered longest 
and strongly to ths traditions, even to the forms of the middle 
ages. The Gothic spoch had brought into use the most diverse 
materials, in the northern and middle provinces arose the upper 
stories in richly carved half timber work over the Sround story 
built of ashlars, ons projecting widely beyond the other on the 
ends of projecting beams; in other countriss, especially in up- 
per Yhampagne, the region of the Loire and the southeast prov- 
inces a development of ashlar construction was native, while 
in the regions of southwest fhance as well as in Normandy pre- 
vailed brick construction. It appears that the Renaissance fas 
iled to develop the Latter artistically in France, so far ar 
we know. On the contrary ashlar construction was treated with 
preference, and it expsrienced not mersly a rich and elegant 
development, but elso obtained a Sreater Seosraphical extens- 
ion. Finally the forms of the new style were also transferred 
to half timber construction in the northern provinces, practi- 
cally in Normandy, yst without even adaptias them to the mate- 
rial. 


Finally we have to mentién also those buildings in which the 


common feeling of the citizens acquired a monumental expression: =< 


the city or council halls, as. may be understood by the adhere- 
nee of the cities to the traditions of the middle ages, In the. 
first decades of the 16 th century, as we haves seen, they were 
built ¢xclusively in the Gothic style. girst about the middle 


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134 ; 
of the century the forms of the Renaissance come into more gen- 
eral use, and are employed with great magnificence. Thereby 
disappears the mediasval character of these buildings. Instead j 
of the carlier favorite open porticos is built a.closed facade : 
with pilasters and the other ornamental forms of the new style. 
The belfry either entirely disappears or gives place to a smal- | 
ler clock and bsll tower. In the interior however remains the | 
Substantial distribution of the carlier time, except that grad- 
ually the vestibuls and stairway acquire a richer arrangement 
of ornamentation. 

46, Archbishop’s palace at Sens. | 
Among the numerous interesting buildings, which the ancient 4 
city of Sens now exhibits in spite of many devastations, the 
palace of the archbishop is to be emphasized as an important 
work of the early Renaissance. About 1520 the older portion 


1 
‘In 1535 cardinal Louis de Bourbon added the adjacent wins at 
@ right angle, which was completed in the year 1557, and is . 
tarmed the “wing of Henry II”. The architect of this buildins 
appears $0 have been Godinst of Troyes, who in 15384 also erse- 
ted a magnificent fountain, now destroyed, in the middle of + ; 
the court. 

The older portion of the building consists of a wing irregu— . 
larly arranged about 160 ft. lons, following the curvature of 
the street. Unfortunately recently destroyed in Sreat part, it 
reserved to us by the drawings of Sauvaseot. It consists 

entirsly plain ground story built of ashlars with plain 
pilasters, opened by two rows of small windows. Richer and more 
slegant is the upper story. Above the belt with dentils #6 con— 
mences with a wide frieze divided by the extensions of the pi- ) 
lasters, and whose surface under the windows is adorned by beau- © 
tifully carved shells with floating bands and with harps (414. 
64). Then follow pilasters with richly moulded pedestals and 
varisd Corinthian capitals. The pilasters, angles and window 
jambs consist of ashlars, the surfaces are of brickwork in wh- 
ich black glazed bricks form lozenge panels. Extremely rich 
are the enclosures of the windows. They consist of Gothic rou- 
nds and hollows, the last adorned by leaves and flowsrs. Accor- 
ding to the needs of the internal rooms, the windows in the 


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enpionn 


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135 


differsat divisions are either single or doubler.and bat on ac- 


count of their considerable height (about 18 ft. in the clear), 
all are divided by two stone crossbars. The termination is for- 
med by a cornice still substantially of Gothic profile, whose 
gutter is decorated by lions’<héads and foliage. The happily 
distributed ornament and the grand proportions, --- the upper 
story measures 138 ft. in height --- give the building a truly — 
distinguished and palatial stamp. 4 roof story does not exist. 

Through an arched doorway at the western end of the buildings 
one passes into an outer court, which on the right is separated 
by &@ cross wall from the inner court. A narrow doorway beside 
a larger portal leads into the latter. At one side and enclosed 
by the cathedral, the other two by the palace, it shows an irr- 
cgular rectangle, whose greatest width is 110 ft. by a depth 
of 85 ft. In the older wingare arranged two winging stairways, 
one projecting externally in an octagon, the other being square 
and included within the building. Their portals are constructed 
in rich late Gothic forms, only the panels of the little flank- 
ins buttresses and finials showing Renaissance arabesques. Also 
the little draw well was so arranged that one could draw from 
outside and inside, with a Gothic roof beset by crockets, but 
adorned by Renaissance details on its cornice. The inner facade 
of this older portion shows substantially the style of the out—- 
er one, except that the ornamental magnificence is even much 
srsater and more varied. Its arabesques belong to the finest 
and most spirited of the Prench Renaissance. 

This style is somewhat modified as stronger and simpler on 
the so-called wing of Henry II, whose conception however still 
belongs to that of the time of Francis I. It exhibits (Pig. 16) 
nine arches in the ground story, formerly open and now walled 
up, the round arches resting on piers with projecting Corinth- 
ian pilasters. Gonsoles with acanthus leaves extend from the 
lower piers to the rather too loas ones of the upper. story. fT 
The windows of the latter also present Gothic reminiscences by 
their richly profiled jambs. The facade next the garden in the 
Opposite side is Similar, only this has in the ground story 
windows instead of an arcade. The internal distribution of 
this wing exhibits lerge and resular rooms and the principal 
stairway leads to the upper story in straight flights, thréce 
broken, | 


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136 
47, Hansion Ecoville at Gaen. 

Cacn is yet and always one of the most attractive and oldest 
Cities of prance. Yet the modern search for imitation has not 
razed the old crooked streets with their picturesque houses in 
order to force through the monotonous “boulevards of the emper- 
ors”. Still are seen in Rue S$. Pierre and other streets entire 
rows of those original late mediaeval half timber houses, that 
compess Emurich carving with the forms of stone construction; 
everywhere rises masterpieces of tall stone spires of towers 
of the Gothic time, and the abbeys of Willian the Conqueror 
rise in their sarnest masses, surrounded by secluded and quist 
places. But in the middle of the city and enclosed by the ani- 
mated traffic of the market lies the church S. Pierrs, whose 
choir is the richest and most original work of the entire chur- 
ch architecture of the carly Renaissance. On the place surrozn-— 
ding this chorch has remained a private building of that splen- 
did epoch, which offers a model example of the prominent city 
dwellings of that time. Mansion Ecoville, now serving as an ex- 
change, was built about 1580 by Nicholas de Valois, then lord 
of Scoville. On one window is read the date 1585, and M. Trebu- 
tien, librarian of the city, has determined as architect Blaise, 
the priest. 

The facade next the street rises above the ground story in 
an upper and a roof story, whose windows exhibit rich caps. T 
The proportions are of remarkable beauty, the srouad story con- 
Siderably higher than the upper, windows wide and large with 
finely profiled stone cross mullions, the separates systems sep- 


ed stylobates. A full understanding of antique forms is expres-— 
ssd everywhere, yet already without falling into conventional 
monotony. Throughout still moves the fresh breath and free fan- 
ey of the sarly Renaissance. Boldest appear the caps of the 
dormers, before all in the splendid hish Sables with Corinthi- 
an cOlugns and rich volute capitals, that rise over the main 
portal. Formerly the sreat flat niche here showed a relief of 
the equestrian figure, destroyed in the Revolution, but not a | 
portrait as usual, rather the mystic horseman of the Apocalypse. © 
Also the tympanum of the portal was ornamented by a relief. 


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137 


The portal is placed in the middle of the facade, when there 


is omitted the wing lying at risht of the observer, that with 
its endependent steep roof is characterized as a separate pay- 
ilion, A little doorway, skilfally inserted between the end of 
chs facades and the pavilion, leads from the street to a wind- 


ing stairway, also accessible from the court, intended for ser- 


vices purposes. 

If we enter the arched doorway of the main portal, we pass 
into one of the most charming courts, which the French Renais- 
Sance created (Fig. 65). Made nearly square, it is enclosed at 
the entrance side and on the right by the residence buildings, 
while at the left extend open arches on piers, and the fourth 
side shows a dominating pavilion between arches, that contains 


&@ Square hall. Hach side of this charming court is independent, 
treated differently from the others, and yet the harmony of the 


continuing principal forms is happily retained. Ground and aup- 
per stories receive a firm subdivision by noble Gorinthian pi- 
lasters, which at prominent places are combined with project- 
ing columns. Zhere arches occur én the ground story, they are 
partly supported on pilasters, partly on heif columas, and 
their archivolts are enclosed by fine mouldings. The windows 


are cither single or have cross mullions, with a similer richly 


profiled enclosure, and their mullions are most ornanentally 
treated with littis columns and candelabras. Burthermore the 
balustrades, the caps of the smaller windows, and finally and 
particularly on the dormers, there is no lack of sracefal orn- 
aménts, volutes with vases, dolphins with medallions, bands 
and festoons of all kinds. With the charm of the invention the 
refinement of the execution maintains equal pace. 

The facade of the entrance side siven in the illustration ( 
(Fig. 66) is plainest of all. The greatest magnificence is de- 
veloped on the side lying at right of the entrances, pow enclo-— 
Sing a Single hall devoted to assemblies of the exchange, for- 


merly divided into seweral rooms. The three wide double windows 


are here so far separated hab a rich architecture of niches 
bstween Gorinthian columns finds place between them. In the 6 
ground story are seen an elegant pedestals in the niches the 
figures of David with the head of Goliath, and Judith with 
that of Holofernes. In the upper story the enclosed panel is 


. 


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138 
filled by senii holding arms with a crest and by floating bands. 
The balustrade that separates the stories exhibits historical 
relists, Perssus freeing Andromeda with another and unintelli- 
gible in significance. Over this magnificent architectures of 
aiches the architect of genius has placed the windows of the 
root story, that by larger arrangement and richer caps excel 
those of the other facades. ) tig 

It the rear angle of this wing is now arranged a wide ana 
fres flight of steps, that first leads into ¢ richly decorated 
vestibule, whoss ceiling shows elegant coffers and arabesques. 
This antsroom permits the connection between the hall in the 
right wing and the Sreat pavilion at the rear, affording access 
%O a conveniently arranged winding stairway, that fills the an- 
gle of the two wings. The architect has divided this into airy 
Open steriss and crowned it by a hexagonal lantern, thas with 
the smaller side lantern resting on columns is incoatestably 
the most beautiful of such creations of the entirs French Ren- 
aissance. Flanked by elegant Corinthian pilasters as buttresses, 
adorned on the covering slab with the cornice by beautifal va- 
sss, between which are crouching children, this ornamental co- 
urt gives an incomparably sayer termination, and makes known 
alrsady the by far Sreater pride in the dwelling of an eminent 
men, rising above the low houses of the citizens. At the apex 
of the lantern is seen the statue of an Apollo, on the snaller 
One appcarins a Moses, with a Rriapus beneath the columnar str- 
ucture of the latter in 2 remarkable way. The strange manner 
of harmlessly combining antique and Biblical scenes in the rich 
ornamentation of ths building is a characteristic Beto: of 
the tendency of the Renaissance 

This elegant conposition is secon cba benporhhe rith anoth- 
ef masterpiece, which enriches the smail court by no less dec- 
Oration; the dormer window that terminates the middle pavilion 
(Fig. 15). We know no similar work in the French Renaissance, ; 
that in beauty of proportions, airy and slender clevation and ; 
charm of ornamentation can equal this. A great arched window , 
is flanked by Corinthian columns, held at both sides by buttr- 
esses, whose piers are covered by pilasters of the same order, 
and ars crowned by candelabras on pedestals instead of the Go- 
thic finials, The transition to the high middle building forms 


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it yltecs edese sno thus yedyse olitoS ad¢ te gms0t Ladnomen 
ne 2 fiteiliegal sect oo tee: eceenaenn 73 qte.cs ict ofay 
beds Bi qo tdpue7d .yrtregias Yo etosesn ent tent 03 
ge @tom oat gest fied d uptostiders oivited to enc 
ect. ecs nods .m2dt of béttivunssd nich 80 bleor . 
senti yiovicos of 1b, bateiquos Baw eissosstdoss 26 ech 
ateblsocs 5 x02 cont <acktouasence snode 20 .tedd),.B2eh3 
pitedine oit Baone heolameq sesasg72¢0 edt to ova odd onté 
ek ti ee. .votebuss Lointossisors m8Hiodt Jo etnowiso fae 
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139 
volutes like foliage, ending in beatdéd heads. The termination 
of the middle building reaches a climax, accompanied by like 
volutes, in a little window with pilasters, above which rises 
a medallion with the bust of S. Cecilia enclosed by arabesques 
with dolphins. The base of the superstructure is flanked by two 
figures, which represent Marsyas and Apollo: whom a bearded man 
tas middis of the balustrade seems to watch. Under the frie- 
zs £s read the inscription:-“Gonquered Marsyas is silent”. An— 
other significant inscription on the doorway of the service s 
stairs says:- “gonstant labor conquers all things”. So muck on 
this jewel of ‘the Renaissance, in whose master we have to rec- 
ognize one of the most distinguished architects of that epoch. 
48. Other private buildings in Normandy. 
In a survey of what further city buildings in the province 
of Normandy still belong to this epoch, we find only a spare 
profit, This chiefly has its reason in this, that just. in. that 
provinces the adherence to the ancient half timber work contin- 
ued long in force. Likewise the assembly in Blois on the year 
1520 might pass a law against this mode of building, that by 
the projection of the upper stories narrowed the streets, cut 
off air and lisht from them, and there can be no doubt that 
already sufficient time had passed for this decree in reality. 
Thus originated those picturesque houses, of which a number are — 
yst found in the cities of Normandy, particularly in Caen and 
Rouen. Vibllet-le-Duc gives in excellent. representations, as 
always, of these original creations of the architectural spir- 
it of ths late middle ages. Sines they extend deep into the 
16 th century, and so exclusively predominate on them the or- 
namental forms of the Gothic style, that one seeks mostly in 
vain for an air of Renaissance art on them. Intellisible en- : 
ough; for just the masters of carpentry, brought up in the 
traditions of Gothic architecture, held fast the more strongly 
to the world of form transmitted to them, when the transforma- 
tion of architscturs was completed in an entirely different f 
fieid, that of stons construction. Thus for a considerable 
time the art of the carpenter remained amons the asitations 
and currents of the new architectural tendency, as if isolated 
On & quiet island, untouched by the revolutions, which then 
occurred in the intended stone architecture. 


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i: Gee oF dnd ,eeensioty bi toaq sable s63 boicad: stage 
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140 

Yet there are not wanting examples, that finally also there 
penetrated into this quiet province the spirit of the new time, 
and that invisible force also compslled concessions from the 
carpenters trained in Gothic. In the Rue de srande horloge in 
Rowen are seen two such houses, that have entirely broken with 
the mediaeval world of form, and althoush constructed in half 
timber work, exhibit the entire wealth of Renaissance ornamen- 
tation in lavish luxuriance and most graceful execution. Corin- 
thian pilasters are covered by precious arabesques, even with 
little candelabra columns in the lower story, and separate all. 
threes stories. The sround story is widely opened by two wide 
windows with horizontal arches; but on the contrary the wind- 
ows of the upper stories imitate the cross mullions of sione ~ 
construction. Frieze with arabesques, parapets wita imitative 
balustrades and splendidly carved rsliefs separate the stories, 
and the upper termination of the whole forms an attic with dw- 
art pilasters, in whose panels are seen senii with portrait | 
medallions. However seductive is the impression of this preci- 
ous facade, still one should not forget, that it is purchased. 
at the expense of every rational principle of architecture. 

On another building of fhe same city, the abbey of S. Amand, 
it is plain how at about the same time men passed from Gothic 
half timber work to the stone construction of the Renaissance. 
Here the older part of the buildings still at the end of the 
15 th century was executed in that kind of wooden construction, 
which was ofnamented by the details of Gothic art. But this 1 
luxurious work is adjoined at a right angle by a part added in ~~ 
the epoch of Francis I, which is constructed in developed Ren— 
aissance forms and ashlar work. Men had the foresight not to 
remain behind the older part in richness, but to surpasssit 4 
in true magnificence wherever possibls. Hence in the lowar and 
upper stories the energetic subdivision of the wall by elegant 
Corinthian columns, that are set on pedestals. The polygonal | ) 
stairway tower sst in the angle with its pilasters and richly iq 
crowned windows, above with candelabra columns at the angles, | 
seems to belong to a middle perind. In the interior the so-cal- 
led chamber of Guillemetts d’Assy retains one of the finest 
fireplaces of the Renaissance. An attic with decorated pilast- 
ers, between them being niches with shells with four statuettes, 


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141 
(S. Margaret and another saint, Maria and the angel of the an- 
nunciation), above being a beautiful acanthus frieze, all cov- 
ered by elegant arabesques, forming the upper part. In such 
sualler works is satisfied the excessive love for ornamentation 
of the time rather than on the facades of buildings, of which 
aré required greater carmestness and a quister architecturel 
treatment. Another fireplace is even more splendid,. since to 
the pilasters are added arabesques and niches adorned by stat- 
uctiss and also four fisure reliefs, and it is preserwed in 
&® house of the Rue de croix de ferre. 

The unskcelled masterpiece, mansion de Bourgtheroulde; prod- 
uced by the school of Rouen in this epoch, was previously men- 
tioned in S. 18. This building is indeed the most splendid pr- 
oof, that the rictous ornamental fancy of the early Renaissance 
dissolved every architectural principle in an ornamental play, 

certainip fascinating to the eye by its charm. 

Or ths mansion de Than only remains a dormer window, yet with 
its fanciful ogee cap, the royal salamander in the tyuipanun, 
the medallion heads in the frieze and the finely ornamented 
Corinthian pilasters of the enclosure, beside which dolphins 
form the outer sides, it has an ansurpassed charm. 

Also there was in Andelys the so-called great houss, to be 
mentioned as an important building of the early Renaissance, 
yst preserved only in drawings. The Renaissance still strongly 
Strugsles with the Gothic hers, therefors the house must be 
attributed to the beginning of the epoch, if not even to the 
énd of the time of Louis XII. On the exterior was a polygonal 
bay window of espscially rich and ornamental treatment. In the 
interior the chapel was formed as a sreat and splendid hall, 
executed in the most luxuriant flamboyant forms, but mixed with ~ 
Renaissance motives. 

49. House of Agnes Sorel at Orleans. ; 

No other city in France played a more important part for the | 
enaissance than Orleans. What Rouen was for the north in the » 
first epoch under houis XII, was this great city for the middle 

provinces. jocated in the heart of the country on the animated 
trean, for commercs and traffic as in political respects the 

key of the south, capital of the province, in which the Gourt 
then had its favorite seat, the city after many devastations 


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142 
Still exhibits a number of interesting exauples of secular ar- 
chitecture from those splendid days. To the earliest of these 
belongs the so-called house of Agnes Sorel in Rue du Tabours. 

In their characteristic ardor, the French confer on the most 
beautiful private baildings of that ime the name of some royal 
mistress, in the present case overlooking the apparent anachro- 
nisn, at least the facade next the street and the front half 
of the building would lay clami to the time of Charles VII, 
without noting that the fnner court facade could be erected 
scarcely a few decades later than the front. 

Evidently the house was built for a rich merchant of the 
city, for only such and not a favorite nf the kins could be 
Scrvsd by the two sreat shops enclosing the narrow hall of 
the house, each of which receives abundant light through to 
wid@ round-arched openings. That lying at the left is, adjoined 
by a room that receives its light from a little court A, behind 
which liss the stairway with its Winding stairs. Prom the shop | 
on the right of the hall of the house a spacious room with fire- 
place is separated, that has a great window and a doorway to 
the inner court B, and at the same tims is connected with the 
hall and the front room. The unequal depth of the two halves 
of the house makes it highly improbable, that the succeeding 

art of the house was added much later, as thought. If on the 
facade certain mediaeval forms more strongly come into use, it 
must not be forgotten, that in this time a few years often ef- 
fected an entire change to the Renaissance. But we shall find 
besides, that also the court facade is not entirely free fron 
Gothic reminiscences. : 

Ths inner part of the house shows us a considerable lengthen- 
ing of ths hall of the houss, that however at the middle opens 
into the court B with round arches on three columns, and there- 
by obtains sufficient light for its entire length, but also for 
the stairway. Opposite the court a doorway leads into a hall : 
of considerable extent, which has windows on three sides. Oppo- 
site this and terminating the court a spacious room is arranged 
with a fireplece. Other trifling additions in depth ars around 
a third court 6. a 

On the street facade we are first surprised, that the two up- i] 
per stories with their windows are rather symmetrically arranged, _ 


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#hiie the great arched openings: ofthe sroundystory have no 
refersnce to the upper arrangement, 2 freedon employed in good 
mediaeval sense. Besides the profiles of the arches and their 
piers as well as the architraves of the windows exhibit Gothic 
hollows and rounds, Likewise the jambs of the windows partici- 
pate in this treatment, and sven the caps of the latter by @ 
broken cornice resting on corbels with little fisures are of 
Gothic origin. But the delicate ornaments of the window archi- 
traves in foliags and leaf bends ars sxecuted in the true spi- 
rit of the Renaissance, snd the graceful Corinthian pilasters 
of the dormers with their fine arabesques show the same tend- 
cucy. Motiveless and inorganic are only the sables of the lat- 
ter, a fault that meantime was softened by ornamental additio- 
aS. purther are to be considered the magnificent stone beans, 
that in the ground story divide the great arched openings aa 
the springing line, as well as &lso cover the horizontal port- 
ai. They were all ornamented by very lovely bands in relief. 
Above the doorway beams is still a frieze decorated by slegant 
erabesquss with a crowning cornice; that separates the portal 
from the window with a flat arch, which gives light to the hall. 
In the upper stories are repeated for the same purpose small 
rectangular windows, with richly ornamented jambs and soffits, 
To complete the description of this original and picturesque 
facade should also be considered the leaves of the doors that 
close the portal of the great arched openings. They show with- 
in rectangular panels, lozenges with boldly carved rosettess 

Tae court facade rests on columns, that with their arches ex- 
hibit mediasval proportions and profiles, although the capitels : 
are decorated by sraceful Renaissance motives, arabesques, si- 4 
rens and other fanciful forms. Also the windows, doorways of : 
She ground story have Gothic profiles, but on the former they 
re connected with elegant flowers and interlaced bands, that 
belons to the Renaissance. The two upper stories --- there is 
no roof story --- as on the house facade are independent of 
the ground story in three systems of windows divided by crosses. 
Likewise their windows have on the mullions and their architra- 
ves Gothic rounds and hollows, even if without foliage; but 
they add a developed system of pilasters, which after the Pre- 
ach custom ere connected vertically like bands, ending close 


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fot evode (ea o8t®). medg os? .etwepfons edi boiziol .mnasg. | 
jhe olde. te ae edt ts lie @ él eopiids edt Yo elbhie. i 
phe ‘ é| 


setae: NOB 


144 
above the arches en consoles in the finest taste. The pilasters 
and their continuations have lozeng panels, and the former are 
crowned oy elegant early Renaissance capitals in sreat varisty. 
But under these windows is seen a shield of arns encircléediby 
garlands of leaves and fluttering bands. This facade still re- 
tains the fresh spirit of the early Renaissance in its strict 
regularity, and must have orfisinated about 1530. 

Of unexcelled charm are finally the carved wooden ceilings 
of the ground story and the first story. The former (Fig. 68) 
exhibit rectangular panels inclosed by bold bands with rosettes, 
cack filled by another arabesque with the most delicate relier, 
énd the happiest invention. In the upper story (Fis. 17) the 
design is different. Broad flat bands are held by shield knobs 
and ornamented by precious arabesques, separats coffers and 
flat mouldings, that cach enclose a rosette in a lozenge panel. 
Ver dicr and Gattois sive examples of both systems. 


50. House of prancis I at Orleans. | 
fo the most distinguished among the numerous Renaissance 
houses of Orleans belongs the so-called house of Prancis.I at 
Ths corner of Rus de Recouvrance. According to the. researches 
of a local investigator, it was built in 1536 by the royal 
chamberlain G. Tutain, but was furnished and richly ornamented 
in the interior bo PraacisI. From this it has been concluded, 
that the king caused this house to be erected for his well kn- 
own favorite Anne de Pisselen, duchess d’ftampes. So much is j 
srtain, that this lady in the year 1540 at the invitation of J 
her uncle, the bisho» of Orleans, mads a visit there, not in 
the episcopal residence, bat lived in the quarter S$. Bufroy, 
in which is located the house in question. 

The exterior of this house exhibits simply noble forms, and 
whese ars always in animated but massive treatment, which after 
the thirties, the sparkling play of the early Renaissance used. 
On the facades are seen coupled windows with crossbars between 
tae Corinthian pilasters, and with round-arched caps, a form 
occurring very rarely elsewhere, but a favorite shape in Orl- 
cans. A psctansular architrave of simple profile is crowned 

a gable like the antique, with a medallion head in the tym- 
panun, forging the enclasure. The phan (Fig. 69) ghows in the 
middle of the oblique pian a hall, at the right of which adjoin’ — 


fe 


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145 

avlarse room with two smaller ones at the left. By the small 
depth it is seen that the greater extent of the court is bene- 
ficial, and that one does not have to do with a house so nume- 
rous in Orleans, whose ground story serves for mercantile pur- 
posss --- as for example that described in the precedins Sect- 
lon, --- but that the isolated dwelling is that of a private 
man. The irregular court is surroundsd on three sides by the 
living apartments, on the fourth by a high wall. At ons longer 
Side an arched portico adjoins it, the lower one with slender 
Corinthian, the ufper with short Ionic columns (Pigs. 70). This 
decided accenting and contrast of a slender and a stumpy order 
has &@ happy effect like everything decisivé. Tha execution of 
these parts exhibit great care. The richly varied capitals of 
the lower columns belong to the most elegant of the time. (pig. 
71), the Ionic capitals of the upper series are treated with 
refinement. The medallions in the Spandrels, adorned below by 
armas, above by heads of Roman emperors in reliéf, the effecti- 
vely profiled archivolts with their keystones like consoles, 
and the rich cornice with consoles in the upper story lend to F 
this facade the expression of animated and still modest chara. : 
The arcades serve as connection with the tyre windins stairways, 3 
that are arranged at both ends in square Stairway towers. The ‘ 
Termination of the court forms in its entire widthca great hall, ~ 
connected by a small doorway with the adjacent Stairway, with 
the court by a Sreat arched portal, and accessible from a side @ 
streat. Here two upper stories rise above the sround story. In ‘ 
the angle which this part of the house makes with the enclosing _ 
weil of the court, in the principal story is built out an orn- , 
amental little tower like a bay, which forms a quadrant. It 
rests on a shell vault (trumpet vault), whose coffers exhibit 
tasteful arabesques, figure representations, among them ths * 
Salamander and the date of 1540. Although the house is found S 
in 2 sadly desolated condition, it still possesses in the int- 1 
erior vestiges of its former splendid ornamentation. On the ‘ 
animated paneled ceiling beams are seen arus, amons-.them the 
royal lilies, crowned dolphins and other carved works. But the 
prinpical piece is the magnificent fireplace, of which Sauva-— 
gssot sSives a representation. 

51, Buildings of wood and of half timber work in Orleans. 


gy : 


| a Dies aa 
oo aela0 on eg Pecmie’ en bar duubbbive i 
teas patio Intoisenoc 26975 eds 10% oifeivesyorzsdo al ST 
alg ahent nt yoited seepod bic esi te sedwnn sedeonR odd 
i xltaabive: PRM .oLkteod Lokotsenoco hevawins eds aot basyen 
weidiesog 28 eidasitoig 22 shes eigu-t0. .pinedowen of bexnol 
a3 yd sOittext no Yee acviesmedd Som bib odw .oescow sisdd 
eft BBS pepecd easds $0 noalg eff ,aqode to sosmshasts 
> Leventher ods s2t%e VES .SS .eetd) wormed yienotize 
L gleoysoe xuote benowg ad? .dtoob eldetebienco te dnd 
genie wehie sno Ja tobiaseo wosser bre gneol s 102 sozqe 
Ne gaogo sid? “600% eoles 6 6& buiqnooe ef woos ostiae 
woonnos ilite et tod .iwestg Poe sedots Jeoth dtin segute 
30 , -d20co a mort, dmeEL esi eoviees1 doLay ,40c% 2 Ogbw 
a edd edd .et eeupod seedt Ife yiseen tk bs gasued yvland 
i. ® Odnt easuelne,dasco edd oi ehns ti susin .vokisios 
yoke meqgn en7 of eheel eafsts Rathsetu e ya sedé 
} spodi si dusco sc? .sidészoa as Dikaieaiy aa seni toemok 
mG Beonbes eaom Ifite et yidaerpe tt bas Ifeme ysov ef 
. Cs eedtoggue oupiide no duo beliedieo .esticie 4a 
BO KC betes Yo. xsicow ydeseilt bus Leniziac wife toegad 
 Bevseveng mogic. fiivte oct pi sontiitad saaeds 
aces: mou foods cidiod ens of .emoos sefsa edt... 
daa) oct to Batlle edd i @ionet4. to sris oot at otal Lidae 
gn 8 be mand Jesuta 2 ai boow to jeyéwls esn shoinsqo Sado%e 
$8 edidicxe ny -ntot dead to. smedse ads’ o3 nbaeaeee ss 
aa W .moigourdancs nctve 29 egiot ef2 no senshasgok dnival 
Sin eeiwiedso esx ag sbaid aidt to elqaaxe og bY .yiF ni 
fe x00 -Gonsneiece? odd io efyde edt betqcks gads skniblind 
ts bekG Showtess? ect at [eigetan oct enpooos og¢al cis’ pas 
8  pemngat Pf asvs , siediao div se2tl gef .soifonites 
Banas bi?) bofanio eag #48 Laveatbes to eaviten ani 
Pamenied s esvisoos Qnhacyo shtal sis to guagqg sewol ast 
“aia aecain Buthroetze edeog bas .eloneq based bas aiduog 
eeolons Bi dove off Io daeq teqqn edd .gode add ct oenasing 
abled onie omse odd Ga doldr eee sehoow ance « xd 
Pdeyesibem eft ni aette .wand eidt to sine edt vent 
th nt beaact ox metledsys oinoioeds evideetic af bas 
$ elit? ged} ,coitte! nsheor ent atesy wesd ‘eidt 26 puta ‘| 
ee. ast? gnisdinbs many! Have .so18 edz to stnemges sn 


: rey 


146 
51. Buildings of wood and half timber work in Orleans. 

It is characteristic for the great commercial city, that far 
the greater number of its old houses betray in their plans a 
regard for the animated commercial traffic. Most evidently be- 
longed to merchants, or were made as profitable as possible by 
their woners, who did not themselves carry on traffic, by the 
arrangsmsat of shops. The plans of theses houses as 2 rule are 
extremely narrow (Figs. 72, 73, after the mediaeval custom, b 
but of considerable depth. The ground Story scarcely leaves 
space for a long and narrow corridor st ons Sidé, since the 
Sntire room is occupied as a sales room. This opens an the 
street with great arches and piers, but is still connected 
a#ith a room, which receives its light from a court. A péecul- 
iarity repeated in nearly all these houses is, that the narrow 
Corridor, where it ends in the court,snfarses into a stairs, 
that by a winding stairs leads to the upper stories, an arran- 
gencnt just as compact as suitable. The court in these houses 
is very smali and frequently is still more reduced by the upp- 
er stories, corbelled out on oblique supports. i 


Gspecially original and thereby worthy of consideration on 
these buildings is the still often preserved arrangement of j 
the sales rooms. In the Gothic epoch, whose forms yet extend 
until late in the time of Brancis I, the filling of the great 


arched opsnings was always of wood in a style, that as a rule 
corresponds to the scasme of that form, and exhibits a too 
Slavish dependance on the forms of stone construction. We give 
in Fig. 74 an example of this kind. It was otherwise with the 
buildings that adopted the style of the Renaissance. They alw- 
Sys take into account the material in the treatment of wood 
construction. fet first with certain , even if fanciful, yet 
animated motives of mediaeval art are mingled (fig. 75). While 
tne lower part of the large opening receives a balustrade of 
posts and board panels, and posts extending higher flank the 
éntrance to the shop, the upper part of the arch is enclosed 
by & strong wooden beam, which at the same time holds the door 
posts. The ends of this beam, often in the mediaeval fashion 
and in effective tectonic sympolism, are formed in dragons’ 
hsads. On this beam rests the wooden lattice, that fills the 
uppsr segment of the arch, even then admitting light to-the 


‘hoow sy ee ae et ae towel ositie ous sete 809% 
to ‘duongelevet ent 26 cyede teal hae Batdd edt. .asosicde 
d ovat atecg ehd ted BY EB na0 yd fotmeserges et sviton 
>" Osah macd edt eiefeniiq Isinemenio oink bemroleanesé 
i ets elfen: lieve! siping torhofe atin coteroo tne ev 
eis” BtAd ‘cort Yo witeluace greg geqar exz-to pat 
spt solseradenco asboon |, encitaeent ozedd ph tI 
"To eebeceh tert eds (Pit e¥acblind +obLo ile ae 
@ Lecedes cdo ot Sapo: Jenke Edd eyala cals $Y tia 
ged) ncitonsat ents. sedait ‘QWad 22 27 seenvot to. ead 
shang mece \Siasssegys Olveitatoetais siedt asheoel cee: 
3 @. Ont vemacd eit to abre Bebnotey edd ae toetota estroce 
r g 24s 26 ebae sdf woitoorwteace eldt Yo rinemele tradacgut 
hotvaso [ptliae odd weal Bavicons ~Beeed arom: tabtoet 
eget oi \noivetbesenie hotominx ne newitow Lavesised Ye 
open vieyitonisse one nolisiceméiase Letionst has 
Ggaeb ,eolitez evitoatte ya evieost enged satdoensnes 
aee Betéeigas atedt eiewer guitosterq yiqusda be | 
20 Usated Hit0n ses noidw yd, eeentieeyt fantsire eis to 
> eloecan desea steleod .dhatetedlak xotneonss 
teiteioarede gti ook. tag eidt bateex .eborestnve® 
egies Ge56 eleivetaw sat to Sinsen edt sort bege! 
“Ponest ni 0 i Hosinki & mcbise sf ssedd woh 
ote betaitsnes a odnh [let qiiaves weds |bestats: yhasale 
“Neay peaneerog eoagia® stivedii). »neitonzance we 
nt in: BAOnSTY BG Smid SUF GE Rncledaneve tadd hold etdt %o 
want pad’ ed aneeebienoe eid gedit .bies 24d vem J 
MGS WOLseek? odet Ratate soitosiwieac 
hes {itse .olyse Ghdd: do fae E 
© dednis 216d esscioneds dedn .2hite 
fa yisteg ,biqisa: wisieg evs to emret ¢ edi 
ai yen Bas CEI to siat at eteod: I »S1nto: edt | 
meen ch ainthliod oisto® otsl Hove .e1sh noite pence ne 


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7 Dihenc? ea0te odastia: yods. Tha0% plooncenaaroins ne cove node 
ied :noktonsdence 4tecsd Ie esnted si3 “0. Sevetigebee ton ste . 
baa eid neboow. iscolktes sto nctimes ssgs0l, on ak saed 
Matecl yilewisas ef sromfsesy dons 36% hoitsoltivess, esd yd 
eG2 to asanes \edih wl bat? mebles sot: on’ yusasaeo eds 00 

2 nO: yiteag daoy tage! seotgetiag aeboon eneotad ge ese. 


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147 
room, when the entire lower openings is closed by its wooder 
Shutters. The third and last stage of the development of this 
motive is represented by our Fig. 76. Here the posts have been 
transformed into ornamental pilasters, the beam gato architra- 
ve and cornice with elegant antique details, while the lattic- 
ing of the upper part consists of iron bars. 

If in theses insertions , wooden construction Supplies the th- 
eme, in all older buildings till the first decades of the 16 th 
century, it also plays the first part in the general architec- 
ture of houses. [i is half timber construction, that sives th- 
ese facades their characteristic appsarance, when the upper 
Stories project on the extended ends of the beams. The most 
important elements of this construction, the ends of the pro- 
jJecting cross beams, received from the skilful.carvins tools 
of Mediaeval workmen an animated ornamentation, in which fis- 
ure and fanciful ornamentation are attractively mingled. Also 
the connecting beams reesive by effective profiles, deeply cut 
hollows and sharply projecting rounds their artistic Stamp. But 
of the original freshness, by which the north German masters 
of Brunswick, Halberstadt, Goslar, Hildeshein, Quedlinburs and 
Werniserode, created this construction with characteristics ds- 
veloped from the nature of the materials with tectonic nscess- 
ity, thers is seldom s limited mention in French buildings. As 
already stated, they usually fall into a restricted imitation 
of stone construction, Likewise Orleans possesses many ¢xamples 
of this kind, that even belongs to the time. of Francis I. On the 
whole it may be said, that ths Renaissance by the luxury of 
Skilful ashlar construction coming into fashion, supported all 
State decrees and made an end of this style. Still is seen in 
No. 48 Rus des hotellsries, what translates half timber const- 
ruction into the forms of the partly insipid, partly already 
Barocco architecture. It bears the date of 1599 and may find 
Sn carlier mention hers. Even late Gothic buildings do not 
Show such an aberration. For if they imitate stone forms, they 
are not endangered by the nature of their construction: but 
here is no longer méntion of a rational wooden tie, and there- 
by the justification for such treatment is entirely lost. 

On the contrary we not seldom find in the courts of the hog-— 
ses at Orleans wooden galleries, that rest partly on stone cor— 


——— 


; 


Lit fi Bat bet, is) ay | iy A ie aot, gee: 
i didddxe. ai i. 0 at pra Faseod acboow ae atiaed ated ae 
o signaxe Ipitooge = yievines ec3 nO -Jndataoat oktulugios ae 
veo wi) .O4 de .oan0n off mi gees ed ct ci esingss. coppsad 
ho ed nolned 
sansel30 a6 prelans 2@ @anibliad etavieg .SG  ' 
ginisos eoansd gaadyegar etog bas .sebtal ods “pebteet 
(dud ofeviag to isdaun e engein0 pi bait ew 0d .Gb 5 
Rrannes ecote Goin ok sotieeetane® oft heyolqme st foie 
efosoide & cini gntad of socidaming bas ti tnorse din 
si On .goifentesxe sok pacot ont to taemqéleveh cid esas 
pads. .eidieesqat'! ef ani Yo CS .ok aren ens i itiy 
i sone ne Lane wises datdtenpoo fnA Juskivxnl dace oft ai 
mane Odaving sedic ifs ccliadnvmente 26. yuwxsl ol cle 
fe esizae 6dd..20t edelenod ti yote Bavows end aT 
ge06e eds. to Sainego oft bru yewrooh sensed add 
iseegdd-dat: touted sd evode «docs Seenetgsh wol a yd 
Sil tok satealigq efstii s yd baiersave uvolaiw ort bed 
Is BOR. Sf, qrete, tevol.edds Jo eciuivibiza ele? .ilsd ens 
oh dete ~eled3do ge Zcitees Neate. t42%6 yd houclone ‘yl 
eer: bas egteda gisid ao eéspacdans enit baa $2 
2080 ead. sebicse Lisash. &.yd Betoenros ais¢icso nek 
q Est $2Tioe ed) feed Seoeflietnl of eed saddrot dose 
“ol meee Ghesbusgs favre edo yileci? bas .satieacs ditty 
peeve “wmode aagas ead of ecbeia eladic eaT .eheod soltiebem 
elie ‘gied Beeclone ainga ef base .aaedeccto diin stelogne 
goo Riad celddniied ont go Hetnel? Sue busd beoeltotnt 
got fs feepesaesos edi do: tigige cc? ak.cxca e230 attade SEGLW 
t svods weetiecos afiy eélneq cbessol wose tae sonseeta 
ma; yeliiore eudiness cpeisewg tin aseiat a.ebaaize wok 
bod Saeize .eenpeedesa: yd boiav 3. cals ebasd Lasitiey 
yobs (cided cootine 2ii din vad? -yiote troaseqas ett te 
zul Balinte & of baa. Woon edd otai. taifbssdxe soiflobes 2 
pages date yo Esrevos susderitg. yd‘ be ec lons wi géilestboug 
do0exs eed to, Sroneoiten goatee: sat. vena iaS -nodddeos. ae 
ttiszen bas Iiswe eids 26 etead soolee efi ot abncgeeai99 
rata ) pp eRmdbiind 
ibliad 4 See aie ai icavtehon ef. eonsitoxul eid? 
Sivedooaste ei Llaz25 yntvags Stem. yd ¢ed2 ,yaonges Jolup 


ergctatysbaes bebsst ne: dion hos pacisacqouy Iniigused vd, f 


148 
bels, partly on wooden posts. These frequently exhibit a char- 
acteristic treatment. On the contrary a Spécial example of the 
Barocco caprice is to be ssen in the house at No. 1o Rue de 
Goulon. 

52, Private buildings of ashlars at Orleans. 

Besides the larger and more important houses anticipated in 
S 49, 50, we find in Orleans a number of private buildings, on 
which is employed the Renaissance in rich stone construction 
with serenity and animation. To bring into a chronological se- 
riss the development of the forms for examination, we commence 
with a little house, No. 20 of Rue de l’Impossible, that shows 
in the most luxuriant and coquettish early Renaissance, and ex- 
csls in luxury of ornamentation all other private buildings in 
the city. In the ground story it.consists for the entire width 
only of the house doorway and the Opsning of the shop coversd | 
by a low depressed arch» above the dovrod:thechhusscarecarrans— 
ged two windows connected by a little pilaster for lightins 
the hall. This subdivision of the lower story is most clegant- 
ly enclosed by drarf pilasters resting on corbels, with folia— 
ge and fine arabesques on theih shafts and ornamental Gorinth- 
ian capitals connected by a dentil cornice. The profile of the 
arch further has an interlaced band, the soffit has panels : 
with rosettes, and finally the arch Spandreis are adorned by 
medallion heads. The single window in the upper story. is rect- ; 
angular with crossbars, and is again enclosed by a tasteful i ; 
interlaced band and flanked by two Corinthian half columns, 
whose shafts are nore in the spirit of the Romanesque and Ren- | 
aissance art, show lozenge panles with rosettes. Above the win- 
dow extends a frieze with precious acanthus scrolls, and short 
vertical bands also covered by arabesques, extend to the window 
of the uppermost story, that with its entique Sable adorned by 
& medallion extending into the roof, and in a similar luxuriant 
prodigality is enclosed by pilasters covered by arabesques and 
an acanthus frieze. The perfect refinement of the execution 
corresponds to the select taste of this small and magnificent 
buildings. 

This luxuriance is moderated in the succeeding buildings to 
quiet harmony, that by more sparing detail is effective only 
by beautiful proportions and well arranged subdivision. Ws nane . 


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149 

first the noble house in Rus da Tabours, whose narrow facade 

has a shop in the ground story beside the round~arched .door- 

way of the house, and in ea@h of the two upper stories has 

two double windows, that are combined in ons system of pilast- 

ers. On none of the many buildings of the city is shown a suab- 

ivision, that was executed with such select refinement even 

in the least things and still with animated charm (Pig. 77), 

ach of the two round-atched windows, which according to medi- 

eval fashion are divided by small columns, is enclosed by a 

blind areh that esate ss both openings in one witole. The arch- 

cs rest on fluted pilasters whose abacuses nov only corrsspond 

to those of the little columns, bat even to the mouldings on 

the great pilasters, that enclose both windows in a system, An 

acanthus leaf there Sives the mouldings a support like a console, 

and the upper part of the shaft of the pilaster is ornamented | 

by a refined arabesque relief. The consistency of the distins- 

uished artist, to whom we owe this facade indeed goes so far, : 

as to sive a ring to the little dividing column where the par- : 
f 


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apst terminates, and to flute the upper part of the column. The 
tympanum finally shows in ths forst story festoons with ornan-— 
ental bands and a little medallion, in the upper Story being a 
larger medallion with a figures relisf. 
bikewiss even after the most elegant period of *rancis T or 
about 1530 dates the beautiful house of Rue de Pierre pereasc, j 
In the ground story 1% has two srsat openings for shops, but : 
for their considerable width and the slender proportions of 
the pliers, these exhibit Honiton arches. Heonony of space 
has here ceased, that even the house doorway is included in f 
one of the great arched spuaiaas But the location of the cor- ‘ 
+o8 in the ynner staris hi: ; ; [ 
wed in the upper stories by the little windows, Hy 
ssages. This arrangement, which oppoges 
ictly shaahelols feeling of our days (fis. 78), comes 
he sound architectural sense of ths tims, which without 
concern expresses the internal division of the rooms on the 
acads, and not on the contrary places the internal division 
of the rooms on the Procrustes’ bed of symmetry. The division 
of the wall surfaces consists or a system of slender and rather 
lean bordering pilasters with the well known logenge panels and 
gharmingly varied Corinthian capitals. The windows are combined 


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tin 8080 bos ‘obit w OMB GORE ono abet: ebalbited tis f es 
ened 283 lo nisq sd ad sesoki ion eaoro hae efetnil sddianz & 
hig sosmebusess bedicoenh ybsetfe edt edcde sass (83: 528) 
Seas Jady ,besiesdqre ed of ylnevet ai .eneel10 Yo scundd 
a teas Bbd i eecod test Sf2 dfiwencet s20s% sat to notios 
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a3 in all buildings into one¢group, are wide aod high, with s 
Straight lintels and cross mullions. On the paln of the house 
(Fig, 72), that shows the already described arrangement of most 
houses of Orleans, it is only to be Smphasiged, that the conn- 
ection of the front rooms with tha rear house in the uppsr sto- 
ry is made by a wooden gallery with little columns, that are 
Supported by stone blocks in a dotted line on the plan. . 

In @ Similar though simpler way is erected the house af Rae 
dé la vielle poterie, narrow and only consisting of one systen, 
Likewise enclosing the house doorway within the Single sreat . 
arch of the sround story, and also shows rectangular windows 


house at No. 1. Rue de la Glouteris. Here no Shop opens the 
ground story; in quite an expressive contrast to that commerc- 
ial house widely opened to traffic the ground story is closed 
in &@ dignified mannsor, and exhibits in its small partly single 
and partly double round-arched windows, that Sparinsly open ¢ 
the broad wall surfaces, that the ground story is here ‘only 
intended for subordinate service purposes, while the master’s 
dwelling is found in the single upper story, imposing in its 
lofty proportions. The system of the windows and of the enclo- 
Sing pilasters is imitated there in Fig. 77 for the beautiful 
house of Rue du Tabourg, yet somewhat simpler and stronger, the 
flanking pilasters without arabesques, the cipitals like clas- 
sical Corinthian forms, the whole more attractive by a noble 
treatment of the members than (as above) by ornamental grace. 
On one dormer appsar hermes as supporters of Ionic capitals, 
enclosing the coupled round-archsed windows. 

03. Buildings of bricks and ashlars at Orleans. 

Besides pure ashlar construction was introduced also in cer- 
tain examples at Orleans that mode of building, which adopts 
brick in a Sreater or lesser extent. An intermediate position 
is first denoted by the house of Rue de 1’Ormeris, which forms 
the angle of Rue aux Juifs. It belongs to the larger and more 
dignified of the private houses, but like most has the extreme— 
ly narrow form of plan, which affords space only for one room 
besides ths very narrow passage; The ground story is opened by 


i) 


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a ‘pais Belgnoc) cetwoiif ond: begaasta ete yrota, Ieqtonizg st 
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edt. exif eed uscvo, baeeletail idsiewte eved exchatn 
meee on goiewoto sat search eaedd to Jecu go eh 
> idisx etstealiq saidtniseD stocr anitostorg ylebiw vd 
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yicdate # nisido og Ena ,eeisote sted ai esneen edd 


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upton @i Sevod ody to Used tnond said off .baiteos 
heya Selden edi .daowlotsd edi stip wie siste 
becione Ssiuvoulée Bridoennco wel s ek eldd dxen ;loos 
nine sede ‘eapod edd to tseq qe8% odd od gribss!l .darco 
bre wicte-gn0 Snted eno .essac eeparaehe) ont to: edsic 
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m@ ,belquoo ylizeq ne signie, ylseby Bodove-faset Lis ene 
> Yrote Saakt edt ol .asvactinors selozasices yd heaolone 
Bicd so wobriw vad snoabrad s hsoniq si senod. taoxt 
be belica £ vd Hheunois bas asagesiig seidiaisoed. yw betercoob 
feapvo needinzcg fect obie eft ge wobsatw Ilene 2 yleo ean 1 
5 He edecise ebis cit: To ee lew es Leqtoning edd to tab 
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191 
small round-arched coupled windows high above the street; in 
the principal story are arranged two likewise coupled high 
windows crowned by antique Sables, and in the upper. story the 
windows have straight lintelsand cross bars, like the lower. 
As on most of theses Houses the crowning cornicevis covered 
by widely projecting roof. Corinthian pilasters with correctly 
formed capitals, the shafts fluted on three guar$ers, divide 
the masses in both stories, and to obtain a stately expression, 
Garcohas been taken to leave proper wall surfaces beside the 
windows instead of placing them close together. The plain clar- 
ity of this facade is a further transformation into simplicity 
of the before described facade of the corner house in Rue de 
ia Clouterie, manifestly indicating the closings time of this 
epoch. Yet one thing is notable; the earlier unknown endeavor 
for symmetry, that has created a pendant for the windows for 
tac passage in the house, that finds no explanation from the 
arransement of the plan. 

Notable is the elongated side facade in the side stbeest thet 
in the picturesque way of the middle ages is composed of a ér- : 
coup of very different parts of varied heights and endependent ; 
roofing. The high front perk of the house is adjoined by the 
Stair tower with its brickwork, its ashlar trim and pointed ‘ 
roof; next this is a low connectiug structure enclosing the } 
court, leading to the rear part of the house, that again con- ; 
Sists of two indspendent parts, one being one story and another 
two story. Into the court leads a wide gateway, and sven the 

ear house has an. i both with round arches. The windows 
are ail round-arched, partly single and partly coupled, mostly i 
enclosed by rectangular architraves. In the first story of the 
front house is placed a handsome bay window on bold corbels, 
decorated by Corinthian pilasters and crowned by a gabled arch. 
It has only a small window at the side that permits an oversi- 
sht of the principal as well as of the side street. 

So far nearly all is skilful ashlar ae espécially on the 
principal facade. On ths contrary ths use of brick is retained 
for the court. As gsnerally in the more important houses, a 
portico on columns with 2 connscting structure at a longer side 
forms the communication between ths stairs of the front house 
and the rear buildings. The columns with their freely Corinthian 


ii i ” tide e | 
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so saplaniag oigaives. tol gniviats: s eves evesqqe ovegs ts 
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daost sat (naiq tebiw eidetebienoo Yo syd «rouse €5 
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capitals, the archivolts of the arches, the enclosures of the 
round-arched windows and the angles of the walls, finally the | 
elesant fluted Gorinthian pilasters of the upper story are made 
of ashlars, the wall surfaces being entirely executed in brick. _ 
Yet there appears here a striving for artistic treatment, since : 
the surfaces are covered by lozenge patterns in darker bricks. 

If brick construction is here retained for the internal parts, : 
this appears finally an its own right on an important house of 
Rue du battoir vert. This is also a corner house adjoining Rue : 
ds Semoi, but of considerably wider plan, the front building 

ith two spacious rooms Gesides the narrow hall placed at one 
side, that also leads directly to the winding stairs. The front 
houses differs from the custom there, containing only ons row of | 
tocms, whereby the court has gained considerably in extent, t 
thoush it further is without anv artistic importanes.: Still 
more light and air is obtained for it, because the connecting 
wing between front and rear buildings is not placed next the 
side street, but is against the rear wall of the adjacent house. 

ide street the termination is formédbby a wall with | 


& gateway. | 
Most interesting to us in the entire building is the princi- 
pal facade. It follows to an extreme the mediaeval principle 
of the freest subdivision, for without reason it combines Jux- 
uty with unsymmetry, when it permits the alternation of single 
and coupled round-arched windows without being compelled by the 
internal subdivision. Above a high and aristocratically closed 
ground story with small round-arched windows, that have an or-= 
namental rectansular enclosure with dentil frieze, rise two up- 
er stories, whose high windows arse treated with particular el- 
ance. Thers is the same form in both stories: single or doub= 
round-arched windows with stone crossbars, snelosed by rich 
architraves with dentil caps, crowned by a narrow frieze deco— 
rated by masks. The profile of the window bars still has a med—— 
iasval form, the little arch spandrels are filled by slesant 
‘foliage, the whole makes an energetic and yet réfined effect. 
Bat all these forms are executed in cut stone, and the angles 
of the walls are enclosed by ashlars, but the satire facade is © 
treated in brickwork with dark lozenge patterns like a single ~ 
great tapestry. En favor of this more picturesque effect, all 7 


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on Reis? .en2 sinexd bas syokn enh Yo esaco est ao beds 
Pe6 Dus Cetciqivce keselites dona yd benxdbe vitnstelts 
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fonts Bi eonewsns oof wgenod eisd tieemEd s0t besos: 
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153 
subdivision of the large surfaces by members in relief is aban- 
doned, whereby indsed the architectural value of the whole must 
remain inferior to that of the beautiful ashlar facades, in 
which the citw is so rich. . 

o4. Other privates buildings in central France, 

[If also in the other cities of this blest province is to be 
found @ wealth not far removed from that of Orleans, yet we h 
have here a small gleaning. We begin with Blois, where in spite 
of many destructions of later and most recent times, a number | 
of houses are preserved, not merely of the days of Francis I, 
but even of the time of Louis XII. Om thess private buildings 
howsver greatly injured by the hand of time and the worse one 
of man, the difference between a city like Blois from Orleans 
is clearly recognized. While there all the sole traffic of a 
commercial smporium, the narrow form of the plan, the economi- 
cal utilization of space, the seneral arrangement of sale shops, © 
one in Blois has to do with the stately houses of eminent nob-— 
les that belongs to the court, mostly wide and around a court. 
thus dates even from the time of Louis XII the mansion Hurault, 
also called “tha little Louvre”, built by the chancellor Hur- 
ault de Cheverney. One enters py a long gateway covered .by a 
depressed vault, whose magnificent sculptures show sreat inju- 
ries. In a corner of this court is seen a little corbelled 

3 on the lintel of the doorway to the stairs,. where 
y represented the hedgehog, is read as an explan- 

t 


oD w ——————— 


; 


i t 
which is crowned by the figure of a warrior armed with a lance. 
In the interior is still shown a little cabinet with all its 
richiy carved wood panslins. 
prom the same time dates the office of the chancellery, loc- 
ed on the corner of Rue néuve and Grande rus. This facade is 
elegantly adorned by much mutilated sculptures, and at the por= 
tal was to be seen recently the ermine of Anne of Brittany, as 
proof that & noble of the court of the queen of pouis XII had 
srected for himself this house. The entrance is also here for-— 
usd by an arched doorway. j 
In spite of modern transformations and devastations, the man- | 
Sion d’Aumale at the corner of Rue de la Fontaine des Blus and 


foe 


OBL. vy 


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154 
of Rus Vauvert yet retains vestiges of the splendid Style of 
that time, as well as the mansion d*Amboise on the place of 
thé chateau, that akes its name from George d7Amboise, the fa- 
mous minister of jguis XII. The same is true of mansion Sardi- 
hi in Rue du Puits-Chatel, notable not only by Scubptares on 
its facades, butuby a chapel ornamented by a fresco painting 
of that time. This represents the crucifixion with four saints 
at the foot of the cross. 

From the time of Francis I dates the mansion d’Alluye built 
By Florimond Robertet, lord of Alluys, minister and secretary 
of finance under Louis XII and grancis I. Yet another histori- 
cal reminiscence is attached to this building’ in the year 
1588 it was occupisd by the duke of Guise, who went from here. 
to his death in the chateau. The building was one of the most 
Stately and magnificent; it consisted of four wings srouped 
around the court, two of which were torn down in our century 
(19 th). It is built of bricks and ashlars with arcades in the 
court, over which extends a gallery. Medallions with busts of 
12 Roman emperors in terra cotte, a‘favorite ornamentation in 
the Renaissance period, adorned the gallery. In the angle of 

; is also here, as in most private houses, an elegant 
sed in a projecting tower. In the inter-— 

ace and the ornamental chaps] merit 
consideration. The mantel represented by Rouyer and Dareel, 
oss not belong to the time of Louis XII, as stated, but to 
the epoch of Francis I, and indsed to its end, as proved by 
the severely classical character of the forms, particularly of 
the fluted pil and the volutes consoles. It bears @ Greek 
inscription. ( 

The best preserved among the buildings of this epoch at Blois 
is mansion Denys du freee which still bears the name of its b 
builder, a learned jurist. pocated in Rus Chartraine, it is d 
distinguished by the refined pilaster architecture of its court 
and. the elegant opened winding stairway ornamented by salaman- 
dsrs and other sculptures, that as usa&l are arranged in a @or- 

ner of the court. The internal facades consist of three storiies 
subdivided by Corinthian pilasters on stylobates, above which 
is the magnificent round-arched cornice that forms the terminssi 
ation, which we have loarnsd to rscosnize on the chateau of 


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“meio Hetemtes to geste eft dvowsliede Ladgnem 
| WRAMOTS Boyd ontod si.entd qLase ald? to atiseesgmt, out 
wienoo JI sors wh on of beseool emioc® nt sencd fed 
uy eas evode Letuoy sit .elgoe cAgia e# te batnict agaty 
n geotnode esqqn Bas sewol sat ef bsiques: Sta. stobnin edd 
gots Qo aeckate edi tevO.canciilefem sao yd bebivid bre 
Hi3o peods tvade Oiduad dtinv anotifebem sede cas yrote 
neo} s8eneoe eedaoo asiw Gaegil elisa 2 antsd vias 
syseo Asie yitieg abo’ ssdioda yw besosnace 
bi esdueheina: Ovig tad?) \alediges natdtnis0d dtiv bugle 
~somoge-cendlt eae yoofealivibdce Isteemanie. bue. evit 
Pee tationes ais versed evidoetits et yisiiaco edt eC .ytenict 
v egdash: on pe Hean0s 2i doldy .noktedoemanio botaens ylont? 
sar. Prec. ,HetvSt? cemeg- yetedeeliquodd to seoatene edd sa 
nto Soiwisio yc hoselietak om aasldes conto asin ceesy 
i cebcow déiw sotkiveag @ no tottetal cds gl .esvas! to 
s8dLONS240 hevieo yftasselo yd hoatse¢osisdo: et vaad 
: sgemsstt bas 
pteon3 sit To sheoed teaw edt nobes: paolo <enad\ed: fA 
pied seiwedil ted (eanod oseviag eittit a ease: . Led 
syria qisesg a yd eldasor ILegth eodat has ents eist’ 
| sbeidag toon hotsess yishessis hue 
abt coengse a0 90 potra*s: Gofanian edt el eseyoh ZA 
p Hotsicos ,eonscetenes vives edt: to, Satbitod. teatels 
fat yd ayenis te hedsonaoo exesdeelic {fed atk yo acks 
2) .8ecsq ‘stesg at eoupeedsas [ntsoesh aainods ery 
emis eaeeaed ie to ants: geet: ns Bord: Senos dioatels os 


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155 
francis I, On the splendid stairway are ssen the arms and devi- 
ces of the builder and his wife. His motto states:-“Virgue wi- 
thout fortune is crpphed;” another is “Warmed by ardent desire’, 
with a flaming pastille burner. 

A house of the most ornamental carly Renaissance, that oris- 
inated about 1535, is seen at Paray-le-Moniel, With its little 
turrets and roof gables ornamented by crockets, it still pays 
tribute to the Middle ages, but with the elegant windows and 
tae fine pilasters that enclose them, it is == allied to the 
allisd to the new style. After the so common way of the time 
the pilasters are continued vertically by dwarf projections, 
but all these members receive by delicate arabesques and orna- 
mentel shell work the stamp of animated charm. 

The impression of this sarly time is borne by a richly trea- 

ed house in Rheims located in Rue du Marc. It consists of two 
wings joining at 2 right angle. The portal shows the flat arch, 
the windo#s are coupled in the lower and upper stories, wide 

nd divided by cross’ medallions. Over the windows of the ground 
Story are scen medallions with busts, above those of the upper 
Story being a relief frieze with combat scenes. ean pilasters 
are connected by shorter bands, partly with Composite and part- 
iy with Corinthian capitals, that sive the surfaces that spor- 
tive and ornamental subdivision, that so frequently recalls 
joinery. On the contrary is attractive here the fanciful and 
finely treated ornamentation, which is poured in abundance oy- 
er the surfaces of the pilasters; human figures, birds, lilies, 
vases with other smblems ars interlaced by charming branches 
of leaves. In the interior ou a pavilion with wooden ceiling, 
that is characterized by elegantly carved crnaments, plants 


At Le pipe close under the west facade of the great cathed— 
, tases a littis private houses, that likewise belongs to 
S time, and @akes itself notable by a pretty polygonal bay 
and elegantly treated roof gabler. , 

At Angers is the mainsion d’Anjou or De Figuer, likewise an 
elegant building of the early Renaissance, meriting considera— 7 
tion by its tall pilasters connected as always by intermediate ~ 
bands, showing graceful arabesques in their panels. 

An elegant house from the Last time of Francis TI has been p 


keoqmt Pry eiiebbysce wood te sesso seh och at Bevrsesta 
; ak exedy ~emoltvetesveb solve fae aottnloyse edd yd .uolense 
idem 663 xd Soes¢scqat yluees0t yeiflind & Ye tasqme: sat vine 
Mb s at bovot et si bas ,tusmdeen? ett Ye avendoiz bac ytilh 
Pabgnibiiod sete! fad yd Senoson® steolyen to gossibaoco ya 
ssebaien -ytOta Bapowh s svede getzots ont st eseia sheoet 
Peppites oa? «(OV sbtt) enmnico duigostorg yd bobivisdre 
“nasagata tpneoleo edt bse .zathbnateaciar {ist dtin belbass 
Snepiliesar sit too yotadolyse Brovrigneo ent dost ye: 
Me ese ytots fowoth est aI .sbtetoe haw euuteldsias he 
a std , ga ems yore baodes ent wf yenanlos exieegmod beto!lt 
bated frist edd ai .Jistie odz to nobivog tenol, diooes: dtin 
somenso tod | betel? gidece cxinaitis neidentzod gegdhif 
b else to esige af tod .reitatasssnto cert: ydibac rewed ond 
ef vise sat to etiesh Isiussanze eft metoieeste ote 
edt at déod etasggs Bids bos .eidbia edi, teod. gon eed 
ato Teifes od? ai oals bae admat wobriw add to sano 
aod) efensg ent to bae envuios eggs ead To: gesed add 
Salas: scinte. feqtonizg sit te oweboin ea¢ aebsl ewofnlw 
ee: ee 28998 Sad ni .teties blod ai aemeerces to etadszoo 
a qd Betercoeb Bos omoto s*daroo # adiw bieode 2 treqque 
ss Sim evigzetoes. sebtel ans. enoisin edt .sehic ne to Sead . 
| merveiease: tease edd to emokifon edt ctoted ;.enotlivs 
‘doa ) Tadrensnto odd doi yoomted ok omploo ditse! ask 
a3 atte’ Go Senteo coc th .etote sids of asvie otsdxyrave 
wot Lett OY Bnsqo fedt .jewot faves e alietintes 2ati ebeos 
gh ebst tad) e Redwotbat exe. etegated ett nO seeders tal? yd 
aan Bt trode heecqeed need evad eon eaned 247 ,tetlan bLod 
. > wemobain teqqn edt Yo exo mo beet 2d eteh etnt cos 
lost te acncmenot gotgdo ci. dots of ,2eyosT tnekona 
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b Bfelel wh enh bee shake sacing esh oof to aendbo oft 
cereus asseis. Yo essod ecvéeviag aatteetetal cs 
vqeigns odt te wobsiw xsd. Lgncaylog begolowel ylaniove 
eve (bibseige atin hos ,eerot eonmezeianes teecii edt ai 
Pyros faner3 edt) to anchain ev no. eanivery nots besitis 
eeste esd mort boredae yitoetib ef sens end Yo, sheoat 
ah yibifasige .euit edd 2o dnepeis duos sad ot edacied 
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156 ae 
preserved in Rue des Forges at Dijon. Originally an imposing 
mansion, by the Revolution and other devastations, there is 
only the remnant of a building formerly important by the nob- | 
ility and richness of its treatment, and it is found in a dre- 
aty condition of neglect. Enclosed by bad later buildings, its 
facade rises in two stories above a ground story. Most happily 
subdivided by projecting columns (Fis. 79). The antique is here 
handied with full understending, and the columnar orders neith-— 
er lack the continuous stylobate, nor the intclligently treat-— 
ed entablature and cornice. In the ground story are slender f 
fluted Composite columns, in the second story are Corinthian 
with smooth lower portion of the shaft, in the third being 
lighter Corinthian, likewise mostly fluted, but ornamented at 
the lower end by free ornamentation. But in spite of this sey- 

Sicismn the ornamental desire of the early Renaissance 
has not lost its rights, end this appears both in the arabes-— 
ques of the window jambs and also in the relisf ornament of ¢ 
the bases of the upper columns and of the panels beneath the 
windows. Under the windows of the principal story are sesn 
combats or horsemen in bold relisf, in the upper story genii - 
Support a sheald with &@ count’s crown and decorated by the 
bana of an order. The windows are large, rectangles with cross 
mullions.; before the mullions of the upper are placed a slen- 
der 1ittis column in harmony with the ornamental character, e¢ 
éverywhers given to this story. At ons corner of this pleasing 
facade lies a stairs in a round tower, that opens to the court 
by flat arches. On its parapets are indicated a balustrade in 
bold relief. The house must have been composed about 1547, si- 
nee this date is read on one of the upper windows. 

Ancient Troyes, so rich in church monuments of the Gothic a 
and Renaissance, possesses in the vicinity of S. Madelaine at 
the corner of Bue des quinse vinst and Rue du Palais de Justice 
an interesting private house of richsr arrangement, with a ch-— 
armigsly developed polygonal bay window at the angle, treated 
in the finest Renaissance forms, and with splendid convention— ~ 
alized iron sgratinss on the windows of the ground story. The 
facades of the house is directly entered from the street, and 
belonss to the most slegant of the time. Splendidly. decorated 
pilasters of the most delicate work, and especially senii 


or la 
b kas. of miedo aaineisisg evty ents Se bleiae & beiblo 
Peiebe. shen std baer ef nokdosse to o¢abh edt ea .gatblind 
hetoese ecelag faery es et effeynacd eceled neoneesd fi 

ht “gi ,Yfeedtd 102 ecrekives eseving e es Lenthaec ‘euemat: odd 
pete ost sbsvol siutsogidows neiionkaee ee shohtioghsa yvaecd 
eee god) fotlide el noitonssJenoo usides Intouss oi nei 


“ead Yo ents ai amex ed? .ywsed bas qmoola at Lesenck os 


‘aa 


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Zited meed etidiixe tvodzsctds) ine .eomelos tian oft00 
wievrs etoel oanthiiod tistete ifise edt .cckeedai efi 
: seonseblianss siz 
6 duonts raltatxe eeened ctevite evoromng ond %0 
-eone8) eflivaicl ,emvet te cecdt gisc ncitnes [lade on 
a (siovee, eduek) Sivexbd bne 
mee | »Bited ta, I etenst? to eanck .22 
| foedisote Séeviug. nl ehoidedisbas teeidon ect oncom 
etexent ex doide (fife ot awond ("8 stones] to senek™ sad aon 
“al ites Os wesldsnietnc! asen dow Yo stalfiv est mort Est 
mee wecthlind efittl tds to eheost edT s-eeoeyla eqmadd oid 


incpeoeakeued Bad of selevets eltt yd bas ,ebniifexb % 
ie deotatersys cit nisizeg sind of .e2niog pS: 
Fito es ddgis Sa Je dose elbhiai sdt xntéteda grag edd 
; {PTY edz; Stinedi! Pathikod: sds bolewoto sidse ywvese 
i to COssetey So atond otiw sacizt scy to ebuaiass yvteo! 
Mai, Lie O08) ,1 eionas§ .eretiied to aneid 
j ytote bavcw edt to exobein bedowe taonk cords edd of 
oH B. yd behivib enobaiw eardd yrote cogan ons ci 
me } avode boa woled hescions si emcdave seeds te dost vied 
i. eau 6dt a esoetins Sbedw) .eisdeelig neidinincd bikas 
rire ncitnevei sieckleb seem adit. to Renal vib oan 
> Liane Bociisxel beate eseteciiaq sswol efs crctsd aliar 
) obeos), edd to eeiaua- edd eeinedt! uetniteSaten seo; -ealt 
tibce: Stkw areduet ho, node. (noizibde rasben 6 et tibia ode 
fy ‘ eaottennivnace feoiszey. sat. Setseit exe cele bos .acopsed 
i ts b ehs dad .seinete owt edd nested eisteslic. iis 
bs-sosig tots yqignibecoxe edd st sguniet geadigid oti. essend 
whbis edd oi teifen bled sk swoie ¢1..eeitote ated anito 


d bewxegque ante ,sboadwe2 yd behaowortse acecd (ssote) 


my vs 


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“pesebem ct Sséine Sesiat ef: slodx eit to oslg edd gave 


157 
holding a shield of arms give particular charm to the refined 
buildings. As the date of erection is read the year 1581. 

In Besancon palace Granvella is a great palace erected by t 
the famous cardinal as a private residence for himself, in 
heavy proporbions as Bursundian architectures loved. The ersct= 
ion in careful ashlar construction is skilful, but the effect 
in gsnerai is gloomy and heavy. The same is true of the sreat 
nearly square court, whose depressed arches are flanked by 
Doric half columns, and throughout exhibits beam ceilingsyin 
she interior. The still stately building lacks every charm of 
the Renaissance. 

Of the numerous private houses existing almost everywhere, 

@ shall mention only those of Tours, Joinville (daute Savoie) 
and Luxeéuil (Haute Savoie). . 
55. House of Francis IT at Paris. 
Among the noblest undertakings in private architecture belo— 
ngs the “House of Francis 9”, known to all, which was transfer-— 
éd from the villase of Moret near Fontainebleau to Paris in 
the Champs Blysees. The facade of this little building, and 
even the plan of the whole is indeed suited to modern ne@ds 
of dwellings, and by this transfer it has been changed in very 
important points. To this pertain the symmetrical addation of 
the part abuitins the middle arch at the right as well as the 
heavy attic crossning the building} likewise the filling of the 
isafy sarlends of the frieze with busts of Margaret of Navarre, 
Diana of Poitiers, Francis I, ste. . 4 

To the three great arched windows of the ground story corres- | 
pond in the upper story three windows divided by a horizontal 
bar. Hach of these systems is enclosed below and above by Spl- 
endid Corinthian pilasters, whose surfaces in the uppsr story 
exhibit sarabesques of the most delicate invention and execution, 
while before the lower pilasters stand luxurious small columns 
like candelabras. Likewise the angles of the facade (that on 
the right is a modern addition) show pilasters with noble ara- 
besques, and also are treated the vertical continuations of 
all pilasters between the two stories. But the decoration cele— © 
brates its highsst triumph in the exceedingly rich piece conn- 
ecting both stories. It shows in bold relief in the middle (<, 
(modern) busts surrounded by garlands, arms supported by Senii, — 


ns 
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me 47: sswobatn obie sltthi odd Yo Ubainwote Sotsav sdt si 
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ny Pusheat ned: Be sociveig edt .otasoctizois to ¢ fenge levos 
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fegail fetuosizos yeliiodg otdted dzin wol 22 Lescog 92 
iS OVOUA .nreteslig neldtatsed yd Benclons ~eelane Bobsyos 
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tesli edd Jedd ov ,tobatn bos igphekaiat edt noended. eoeae 


158 
in the side panels being gayer scenes with children having a 
Bacchic significance; genii swinging the thyrsus and picking 
grapes. The sole remains of mediaeval art is to be recognized : 
in the varied crownings of the little side windows. 
The rear of this magnificent little building has at the med- 
dle a projecting flight of steps with two accesses, that leads 


to a round-archead doorway with rich arabesque ornament, that 
foruerly was in a side wing as Pig. 80 shows. Above this is the 
Sselamander flanked bg two canopies with little domes, that re- 
appears on the same facade in the tympanum of the beautiful w» 
window with cross mullion, on which are placed also two lovely 
genii riding dolphins. The two other facades are modernized, 
and also in the sculptures of the principal front are said to 
be modern additions. ‘eg 

fie intsrnal arrangement is modern; only the stairs that es 
cend at the middle in a straight flight, belong to the origin- 
al design. 

06. Private buildings in Languedoc. 

In the South, whers the magoificent remains of the Roman pe- 
riod never entirely remained without influence in the later 
development of architecture, the province of Lansusdoc in par=- 
ticular takes a livins part in the Renaissance movement. In 5s 
several chateaus of the time (S. 48) thers mests us a certain 

erflowinsg luxuriancse of the treatment of form as a memorial 


ei the buildings of this sedge ah Likewise in the eittes the 
competing architecture now commences to follow the seneral 
movement. a 


In QGabors is to bs seen a Renaissance house from the earlier 
time of Francis I, on which are combined mediasval reminiscen— 
ces with the full ofnamentaiimagnificence of the new style. 
The portal is low with Gothic profile, horizontal lintel and 
rounded angles, snclosed by Corinthian pilasters. Above. rises 
in the second story 2 coupled windoz, ce profiled and 
enclosed, divided by bold crossbars. This entirety as an oth- 
eruiss Simple facade is arranged as a show piece of the first 
rank. All members, pilasters and window bars, cornice and fri- a 
eze, overflow with the most clegant arabesques. Similar ornan- 
entation also encloses the richly treated arms, and filis the 
Space betwsen the doorway and window, so that the smallest 


fein 4 eye shadeedoenent trogtix aniaces 
one re, 842 te depen edd nbdcoled en © 
be E grove bescsn) eh a 6 pthc . 
oeve eds okstacol 

six encilisb< 

Bdidze yen" 

) ae gel’ Paewk A sarod, eyaseol ent St}co tncoitiages | 
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Space remains without TS ya 

To tac same carly time belongs the court of the Jesuit coll- 
Sse in Rue des Balances at Toulouse. A high sround story is a 
decorated by elegant little candelabra colunms.in the Spandr- 
els of the arches of the arcade are seen the medallions with 
busts so favored in this time. The arch of the doorsay exhib— 
its magnificent coffees in the lozenge form. A sgrsat flat arch 
is also coffered and opens over it as a niche. The upper story 
is made considerably lower, like an attci, that has decorated 
and projecting Corinthian columns, half fluted. Ths pedestals 
on which they stand are connected by a balustrade. The frieze 
shows little round windows and a rich dentil cornics, that is 
strongly broken over the columns. On one court facade the upp- 
et story contains windows with cross mull ions, the other side 
exhibiting a gayer and splendid logsia, whose depressed round 
arches are coffersd and flanked by magnificent pilasters. 

To the more stately buildings of the spoch belongs there a 
mansion Meynisr, whose windows in part have the elegant carved 
pilasters of the early time of Francis I and mostly cross mal- 
lions, partly betray the late time of the century with Baraceco 
hernes, atlantes and fauns with sreat legs twisted spirally. 
bikewiss the court of its stair tower belongs to the early ep- 
och, a8 shown by the rich ornamental frieze, the decorated pil- 
asters and tympanums of the arches, the medallions with busts 
and the spirited arched frieze resting on consoles. Of the in- 


1 


ternal equipment is to be mentioned a magnificent fireplace and z 
Zz 4 

2F reliefs, belonging to the richest of the early time. 
: sen in Rue Timbal a modest brick house with very 
characteristic rustication on the enclosures of windows and 
doorways, evidently belonsing to about the middle of the 16 th 
century; tha cross bars of ths windows are decorated by dry a 
atlantes, angels’ heads and other figures, as this style loves. 
axtremely picturesque is the effect of the Bittle court, that | 
is indssd now very ucgiected. At the left-is an arcade half 
walled up with two very flat arches on a Tuscan middis column, 
above it in an upper story beins another still more depressed 
arch, in the angle is a round steir tower with simple winding 
stairs, and on the right wing between the rather dryly treated je 


ith arabesques, genii, festoons of leaves, busts © 


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iaeese of 2 ewolls sicsgad 2h ex uindsdseo vistas ‘ce: vere 
hod edd .yautoco ad Bf ens ao; cave’ efhbie edd tiods' ts 
= evahiVi aesecs cd? Ti fos seatoets tom xninkssaso sae 
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pipnthline ss Cc seit) eadeo thes sonavengqe t3k eh 
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windows, are the very animated busts of Francis ‘I and his gusen 
in a niche. In spite of unimportant proportions, the whole is 
full of character and is original. In the same street is still 
seen 4 little half timber house of the same epoch, the windows 
enclosed by a system of Ionic pilasters, on which occurs & di- 
rect transfer of the stone style to wool construction, which 
we perceive everywhere in the Renaissance, and that elways de- 
noves the decadence of independent wooden architecture. 

dere may be added from the neighboring Dauphiny on the bord- 
er of Languedoc, a costly house, splendid in all the luxuriance 
of the carly Renaissance, hat is preserved in Valence. A mas— 
nificent portal with straight lintsl and rounded angles, surr- 
ounded by a lavish abundance of ornament and enclosed by deco- 
rated pilasters, on whose bases are even mediallion heads (like 
Ghose on the Certosa at Pavia), forms the principal part of the 
facade. A niche with shell and angles holding arms, the genii 
beside them extending a garland, over which is a no less luza- 
riously ornamented window with crossbar, is there combined in 
&@ whole of the highest richness. 

57. The city hall at Orleans. | 
as the Renaissance had been introduced into the cities in nu 
merous magnificent works, first by the nobility, but also by | 
#05 compsting wealthy citizen class, Then it should now like- 

sccive recognition in monuments erected for the communi— | 
ty. City halls antil in the 16 th century by their Gothic forms, 
a ante of the strong adherence of ths cities to the traditions ~ 
of the ere ages (see 3. 13), now became evidence in which is a 
combined the changed tendency of the minds of the c citizens to ; 
2 Splended expression. One of the sarliest, perhaps indeed the. 
first of all these buildings, was sracted by the city of Orle- 
ans. So early certainly as de Catto mi allows it to originate 
% about the middle ¢éven of the 15 th century, the building 
was certainly not erected, and if the master Viart, to whom 
it aS well as the city hall at Beaugency are attributed, then 
this sae cannot be stated. | a 
ppsarance indicates (Fig. 81), the building origina— 
early time of the reign of cae cis I, about 1520. ‘ 
It consists of a tolerably regular rectangle, whose facade 4 
looks on a narrow street and is finely divided. In nearly a 


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eos, pad Foertdons edt tedd .ds0g2 ¢ltes gids to estons’ 
| dageds To elhbin ott tpods te Biateeliq etd Bo wlatiqes 
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161 

Syumetrical development, it is divided into four systems of # 
winddws;, sach enclosed by pilasters, that rise from the base 
to the roof cornice and produce a consistent vertical subdivi- 
sion. Between them is left so much surface as to be able to 
add beside the windows of the principal story canopies. with 
Statues, and at the same gives a balance by closed wall surface. 
Tas proportions of the facades have thereby acquired an extren- 
ely happy effect. On the contrary it belongs to the wonderful 
fancies of this early epoch, that the architect has placed the 
capitals of the pilasters at about the middle of their height 
without any reason, instead of directly beneath the cornices; 
an inconceivable mistake in forms and proportion. Instead -of 
well considsred members, he has thereby used usly dwarf pilas- .— 
bers with plain bands as a continuation of them. All is more- 
over executed with richness and refinement in details, as then 
ths entire surface of the ground story includins the bands is 
covered by a tapestry pattern of lilies in delicate relief. A 
special piece of magnificence is forméd by the portal, placed 
beneath the second window from the right. Spanned by & round ~ 
arch and adorned by ornaments and rich members, it is enclosed 
by pilasters resting on half columns. The shafts of the latter ~ 
are covered by curved flutes and ornaments in the manner of the | 
Romanesque transition style. Above the portal extends a friszs. | 
with weapons and ornaments, terminating worthily this luxurious — 
little masterpiece. The windows of the ground story are simply 
rectangular and enclosed by plain architraves, crowned by 4 b 
bent mouldings after the Cothic style. é 

A grander effect in contrast to the depressed proportions of 
the ground story, is the high upper story with its great wind- 
ows divided by doubled crossbars, rich niches with canopies a 
and the extremely magnificent crowning cornices (Fis. 31). The 
croportions here ape of rare nobility, and the whole has a hare 
monious effect. The enclosure and mullions of the window are 
Still entiesly in Gothic form, combined of slender little eol-— 
umns and desp hollows. Likewise is it a mediaeval idea, ths 
uss of perforated round arches that form the separate ending 
in graceful play. Also the niches of the statues with their 3 
canopies are executed @ntireky in Gothic forms, yet the archi- | 
ect has intelligently given them a flat termination in order 4 


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162 
the rale of a the horigonta],the justification of the new Styis, 
and by the wise subdivision of the mediaeval forns employed has — 
Snsured to them a civic right in the new style of architecture. 
Otherwise the Renaissance is clearly expressed in the slender 
pilasters, the angles supporting arms on the window parapet, 
the profiles and ornaments of the mouldings. Only in the crown- 
ing cornice yst appsars a compromise between both styles in a 
nappy way. 

The principal form of this, the round-arghed frieze is borr- 
owed from the Romanesque style, like the columns of the portals, 
and it merits consideration, that the early Renaissance has of- _ 
ten employed the forms of this styls intimately related to it. 
But it knows how to transform it ia its sense, to animate it 
anew, and gives us thergin a notable indication of the spirit 
\B. crsative architectural epoch understands how to make current 
again the forms of the past. The shells fillins the arches, the 
ornaments of the members and the little spandrels show this. ; 
Only between the pilasters and the frieze is obtained no organ- 
ic connection, since in general the loose composition gives e 
evidence that the masters of that time mostly still uncertain, 
fumbled between both architectural styles. Directly over the 
cornice lies the gutter with its magnificent rosettes and gar- 
goyles, and then follows the perforated balustrade of the gal— | 
lery, that extends before the windows of the roof story; this | 
with its vesicular forms is the last echo of the flamboyant. 
fhe entire composition of shis rich crowning evidently forms — 
the preliminary step por that still grander and more developed 
crownins cornics, that we have learned to know an the inner fac- g 
ade at Blois. Also the two little pepperbox turrets on the an— 
gles are a mediaeval conception, also more allied to the Roman— 
esquctBhan the Gothic style. | 

Finally the dormer windows with their cross bars are enclosed _ 
by Corinthian pilasters, that are connected horizontally by a | 
cornices. Very inorsanically rise over these crowning pointed 
gables, that by their steepness and the closing crossflowers hr 
belong to the Gothic conception. Furthermore it is to be noted, © 
that the facade has experienced many injuries, indeed less by q 
the Huguenots, “the ungratefal sons of our Christian civiliza-— ~ 
tion,” Dre. Cattois flatterinsgly calls then, bat by the Revolu- 


uion, that especially tore from their niches the five 68 


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163 
Revolution, that especially tore from their niches the five s 
statues of prench kin ‘in and destroyed them. At present the 
building is properly cared for and is changed into the. museum. 
of the city. 

The plan is simple. A corridor covered by cross vaults, bes- 
idé which at both sides lie important rooms with great cross 
vaults on octagonal piers, leads to a stairway by which one 
reaches an elevated court. Gere rises at the right a mighty 
belfry, rectangular and not square, with a round stairs tower. 

extending to an ipposing height and terminated by a slender 
Spire at a height of about 180 ft. The upper story opens at. 
all siges by high gothic windows as a belfry. The window caps 
aré pointed ogee arches, and with the finials and the vesica 
Sailery at the beginning of the roof clearly prove the late 
Gothic origin. The statement agress well therewith, that R. 
Gohier erected the tower about 1442 and completed the work ab— 
out 1453. 

Tis stu r story of the front building in its enuire extent 
consists of a hait 60 ft. lons by 25 ft. wide. At its ends are 

laced ant chimneys and two doorways lead into it from e vest-— 
sae The latter is in the form of a narthex, and with the 
windins stairway extends the entire length baéfore the hall. 
58. City hall at Beausency. 

Tae first place that followetl powerful Orleans in the erect-— 
ion of a city hall in the new arch he EOS style was the lit- 
tle city of peaugency, located on the Loire between Blois and 
leans. Its style is so nearly allied to that of the city hall 
Orleans, that one must Gecide on the probability of the same - 
aster the date of ersction is siven the year 1526. In any 1 
case the little building was first built after the model given | 

y Qrleans, not before that as Dr. pattois assumes. Aside from © 
this, that as a rule the great and powerful communities decided — 
the arlhitectural development, and first proke the road by im- 
portant works for the new tendency, there also certain forms 
on the city hall at Beaugency that first exhibit the further 
development and in part the higher perfection of those beginn-— 
ing in Orlcans. This is expressly true of the noble crowning 
cornice, that in richness and nobility surpasses that of Orl- 
eans, and places itself beside the magnificent one of the- 


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164 
chateau of Blois (Fig. 32}. 

The little buildins consists of an irregular rectangis, that 
contains in the ground story a portico opening on the street, 
in the upper story the great hall of the council. The access 
lies at the rear in a polygonal staircass with broad winding 
steps. The facads belongs to the richest and nost ornamental 


aC 
of the time he 82). The grsat half closed arches with flat 
depressed arches by which the ground story opens to the street, 
are manife oe taken from the arrangement for shops employed 


in the neighboring Orleans. Ornamental and slegant is the por- 
tal with the little coupled windows above it. In a free manner 
the upper story follows its own principle of arrangement and 
distribution, without regard to the axial divisions of the log- 
er story. Therefore tts pilasters are set on corbels with vol- 
utes. Beneath the arms and emblems that fill the window panels 
is noted the salamandsr of @rancis I. Very beautifal are the 
proportions, subdivision and decoration of the three great 
windows with ¢ r cross barsanimated by precious arabesques, 
asteful are the ornaments on the eapitals of the 
jatestes Shafts of the architraves. But the highest 
oman is developed in the crowning cornice, that only 
finds its equal on the chateau of Blois. The surfaces of the 
upper story ars finally decorated by a lily pattern as aproof 
of the unsatiated love of decoration of this time. 

59. The city hall at Paris. 

The city of Paris possessed in the middle ages for the delib- 
tions of its te ae ph ve 
called house with piers, ich was purchased in 1357 fromwia p 
private man for the sun hee 2380 livres. Accordins to the dese- 
fiptions of gd and a miniature picturs of the 15 
th century, it was an imposing buildings with an arched portico 
in the ground story, two prveiet & chapel and a great hall. # 


fa cr 
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re 
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With the great increase of the population in the residences city, 


which then besan to be a city of the world, the buildings had 
lons been insufficient, when the aldermen made a decision on 
Dec. 18, 1529, to So to the king for permission to purchase 


several adjacent houses and for the erection of a new and grea 
ter city hall. Francis I willingly gave the authority requentsd, 
and on July 15, 1538, the corner stone was Laid with Sreat cer-— 


ar 


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Sedvecd O62) 20) Lied eeerh 2dt to‘ oor edt Yo notses 

athe saison great TAn) Baw Motselqago te em sn? 


165 
ceremony. As désigncr od the plans and highest conductor of the 


execution is named Domenico Boccador from Cortona, who received 
therefor an annual salary of 254 livres. Under him was the mes- 

ef mason P. Sambicaés with 25 sous daily wages, and for the 
Carpentry was engaged J. Asselin with 75 Livres annual salary. 
One already sees by the relation of these numbers, that the It- 
alian exceeded in the prominent position as designing and saper- 
vising architect those merely executing masters. 

The construction was carried on energetically at first, so 


that until 1541 the threes wings that snclosed the count in front 
k , 


at the rear and on the right side next the Seine, were substen- 
tially completed. Yarticularly the court was finished in great 
part on the threes sides indicated, as it now still appears. But 
Since on Jaly 2, 1541, on the approach of hostile troops to ths 
city of Paris, the sum of 34,000 livres must be paid for fortif- 
ications, half the workmen were discharged, and the building # 
was more slowly continued till 1548 with reduced forces. .A pen 
drawins of the wae 1583 shows only the ground story left rough, 
above which ros: @ unequal gables; only the pavilion exrten— 
ding on the right to the Seine was completed. In the year 1589 
the last very ruinous remnant of ths house on piers and the 
house of the porter threatened to fall suddenly, and must be ~ 
quickly tonr down. It is easily conceivable, that in the lons 
time of the religious disturbances and the civil wars, the city 
found neither desire nor means to carry on the building. When 


eacs and security returned to the realm of Henry IV, the bail— 
ding again began with new zeal after 1600, and in 1607 the fae-— 
de “wit i ei | mouldings, ornamentation, cornice, at-— 


page ment”, was gomplcted in its principal parts. There 
ned to erect the clock tower of the middle portion, ¢ 


hat ath have the form of an open lantern. The executing mas— © 


as 
y 
ters wers directed to ersct the clock tower in two stories with 
t 


he form of a lantern, “according to the drawing on parchment?-—— — 


whereby indeed only the design of Boccador is to be understood, 


--- “which mast surmount the dial, and on the last of which will © 


be placed a bell to serve as a clock”. The architects then exp— 


ressed themssives, that the roof should have the fora, inane 


tion and fashion of the roof of the sreat hall of the Louvre”. 
After 1603 the work of completion was now undertaken with zeal, 


4 
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166 
the temporary columns of the ground story were replaced by flu- 
ted Corinthian, the cornice was crowned by a balustrade, which 
Boccador’s design did not require, and in the tympanum over the 
middle portal on a ground of black marble was executed the eques— 
trian statue of Henry IV in high relief. It was the work of the 
excellent sculptor p. Biard, who is termed the “architect ana 
Sculptor of the king”. The erection of the building was superv- 
ised at this time by master P. Guillain. After 1609 was erected 
the pavilion of the left corner wins, exactly corresponding to 
its precedent, when until 1612 was added the bell tower with 
clock and bell, and finally in a very slow construction from 
1615 to 1628 the left wins of the court and thus the entire 
buildings was completed. After the middle of the last century 
(18 th), when the rooms were ever found more inadequate, plans 
for extension were drawn, that however were first executed in 
modern times from 1837 to 1844 according to the plans of Godde 
and Lesuer in a distinguished manner. Burned by the communists 
in 1871, the building was since again restored by Bally and De. 
Perthss. — 

To obtain an idea of the plan of the 6hd building, we must c 
conceive to be removed the extended wings with the two side co- 
urts, the stair hall with its srand double stairs and the great . 
festal hall in the rear wing. We then obtain the trajezoidal g 
ground form of the oid city hali IA EE in its depth, which 

n four stories around the court of like plan. The | 
1 he rear was separated from the Gothic parish church 
of S. Jean en Greve, which was adjoined by the great rectangular © 
chapel of S. Jean. At the left side was the chapel of the Holy | 
Ghost with the hospital extending beside it; on the contrary on 
the rishi it was bordered by Rue de Martroi, the entrance to w 
which was skilfully included in the building by a sSreat sateway 
of the angle pavilion erected there. The facade is:made entirely 
Symmetrical: in the middie is the CM entrance, flanked 
00 each side by three divisions with windows, then as terminat-— ~ 
ions are the massive angle pavilions with their sateways. 

By & polygonal flight of steps one passes to the entrances of 
the corridor, which Lies in the axis of the buildings with a num 

er of steps, just as in the city hall at Orleans, reaching the . 
trapezoidal court lying about 12 ft. above the level of the stres 


eealy “ati Nevoc ylinecot yleo wok 3i- acoriave ob bdatsina: 

basixs } dosan batded ,erely no aehsows yd Robavotive esx (2003. 

s qitceinovoco [eveyee) .esinee ofdaie « gf eeoitto edt ie 

0 antosuy bas idgitt tdziterte 2 oi gatbdneous aa seqensteda’) 2 
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Gibne .seatiognt eyenlo Likde at yewsieses PRD SR ogt 

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ef NDI S63 xt weeone yiesuacis sone fod elis? 
‘eee | Bigs. esi -swodain WZ. mazof ont Io 
as SSP tees a ebbost sds srotes y eliens® ¢ n t0, 
Ny By ee BeaBOts.. yicsa bax iol £896 IO LBVOBgGIO’ & 
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B Teeieo e443 slicer ibiediatad Dae sointeo «a. atin 
tk Setdtosicy yd betexeash wrote baid? a. sidtiys iftse 
. antaele qidhin.cesdT .eleod oeese sdf eeta dotdr | 
Bod elbiin $hd to tenes Lied tebosle oxd ¢ osslad ylovisoaties 
Meheroc ows eft See ucclo betacnaczo eibtboerge ett ddtws sak 
7 F esd ofsost oot Yo solfstossh bas scisivibdne' sot .eatiedgask 
ts 3 tne [3cacdedn bedose qeebiytose. Saecas: odd oI verendogs *” 
gi # Boe anadeecto yd tabivib . falpgastos: oi. cole lech. 
Gnd. yigaorta poidvoginn .pedadelyse avis co ceec hue beset? 
oa -Saksodnem evisostte ylsoanoone ne ovih Has. ,esoinires || 
mes ds tc smaine necie ‘* atte Bwobsin asomione eed yrode 


as We 4 


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167 
Originally hypethral, it was only recently covered by a slass 
roof, was surrounded by arcades on piers, behind which extend 
the offices in a single series. Several conveniently arranged 
Stairways, all ascending in a straight flisht and turnings on 
the first landing, afford sufficient communications everywhere. 
The principal stairway is still always important, and lies at 
the right of the entrance. It has depressed arched vaults over 
the landings, treated with cross ribs and keystonss in Gothic 
fashion. On the contrary its rampant tunnel vaults are divided 
into coffers in a splendid manner with manifold ornamentation. 
These parts and their characteristic architecture belong to th- 
ose, which have most faithfully retained the original expressi- 
on. The same is trué of the internal facades of the court. In 
the ground story they exhibit Ionic, in the upper story Corin- 
thian half columns, 211 without flutes, otherwise with their 
stylobates, entablatures and cornices, created with 2 full. knor- © 
isdse of antique forms. In the spandrels of the arches of the 
lower arcade are inserted medallions, evidently for busts. The 
céilings of the gailearies show 4a sreat diversity in the subdiv— 
ision afiid-decdration, all in the sense of the antique. The ear- 
ly Renaissance with its sportive play of form and its mediaeval 
echos fails but once, strangely enough, in the luxuriantly deco- 
3 lasures of the dormer windows. a 
ret us again finally pass before the facade te test its artis-= 
low 


ti ground story treated as a basse for 
the superstructure, risss a léfty story, and above this is a 
still mors imposing upper story. Then the middle building term— 
inates with a cornice and belustrads, while the corner pavilions 
still exhibit a third story decorated by Corinthian pilasters, 

& 


above which riss the steep roofs. These mishty closing masses 

effectively balance the slender bell tower of the middle build— 
ing with its splendidly ornamented clock and the two octagonal 
lanterns. The subdivision and decoration of the facade has great 

richness. In the ground story deep arched wiclossflank the win- 
dows, which ars rectangular, divided by crossbars and terminated — 
by antique gables. Strongly projecting Corinthian columns are 
fluted and rest on high stylobates, uwpportins stronsly-broken ) 
cornices, and give an uncommonly effective memberins. The upper 
story has enormous windows with a clear height of 20 ft., and 7 


fgzke s: Pee Velisis be iaron « bebtvae sucess! “a ey 
ore rk OH ol nektarossh ett sl yeMoid ede .ecuzefonk 
‘Sacde eit Yaede Broce etd Yo nameloo ont evodh Lele 
qrey ited? 20 .esdofty gnitestosg "td besyesdoeh qidots 
sh banc: yd heowovs eeniadsa seheele Salt alstiqes snitociorxg 
Biadnco vad ecitie bedows tashele eaofoné ct gaivese 
i ulree out 36 etrtqisoe ea Colseitish fantkino ekdt nT 
Sat ne Hk contd at SeuT seddoie ett emlaico# miahs cons 
to eeigenso eco So yareines pidted edt ni neve soak 


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163 if 
ate therefore divided by doubled crossbars. put the simpler this 
inclasure, the richer is the decoration of the intermediate Wa- 
lis. Above the columas of the ground story rise short pilasters, 
ricaly decorated by projecting volutes. On their very strongly 
projecting capitals rise slender shrines crowned by round gables, 
serving to enclose elegant arched niches, that contain statues. 
In this orisinal degoration the sculpture of the early Renaiss— 
ancé again iclaims its rights. That is true in an increased de- 
grse, even in the Cothic tendency of the canopies of the niches, 
which are added in the sround story of the two pavilions. In 
these decorations, as well as in the high roofs with their wvin- 
dows and chimney caps the [talian architect has made his conces- 
sions to the French national spirit. 

60. Pubbkic fountains. 

Hand in hand with the striving for richer ornamentation of p 
public life, goes the erection of stately fountains, that hence- _ 
forth are impresssd on monumental works in the sense of the r- 
such Renaissance. The middle ages already has devoted a partic-— 
ular eaietakeeck to these monuments; but in the \Gothic epoch the 
church architecture acquired a too onesided influence on their 
form and treatment, and it could not be regarded in an esthetic a 
ensé as a suitable and truly artistic solution, when the form ) 
of a Gothic tower in a roduced imitation as a pointsd pier, cas j 

@ int eas a motive for spouting water. For the metal pipes | 
that must supply the water in such a case, in their purely ext- 
epnal addition to the body of the monumen} they nowise became 
artistic pearers of their function. 

fhe Renaissance returned tosthe form of a wide basin, from the 


middle of which as a rule ross a richly decorated conical pier. 
One of the most,ornamental monuments of this kind, stgll from 4 
the epoch of Louis XII, is possessed by ths city of Tours. J. 


de peaune, lord of Semblancay and governor of Touraine, caused 
_it to be designed in Carrara marble by the famous sculptor y. 
Columb, whose nephews B. and M. Francois executed it is the 
year 1510. The little monument consists of an octagonal basin, 
from which the pyramidal pillar rises 15 ft. The basin has on 
its corners original dwarf columns with fluted shafts.and in ¢ 
the ornamental panéls are scrolls, fsstoons and floating. bands. — 
The pyramid develops in a number of heisht divisions, in whose 


ad 


Parente eh A rate! att i 

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mf efoissarqnt wes ylintions? bas Han 
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169 3 
members and mouldings the art of the Renaissance has executed 
by the weakth of its imagination. Winged sposts whose right 
character can no longer be determined, eject the animating ele- 
ment. Amons the numerous arms and enblens found on the surfaces 
are seén the Initials of lowis XII and of his queen Anns, surr- 
ounded by tasteful ornaments. rol REAR ENG ars the upper parts, 
where slegant volutes support the instruments of the crucifixion 
at the apex, extending en the Hist of a post with oges top. Thas 
& weak echo of a religious clement occurs in thes purely secular 
monument. : 

Ancthsr graceful monument of this kind is that reproduced in 
Fis. 88, the fountain erected at Mantes in 1519 to 4521. Pron 
Sli octagonal basin rises a polygonal pier, on which rests the 
round bowl decorated by an ornamental band of reliefs. Above | 
shis rises a pier entirely divided into sculpture, that bears 

a@ still more richly ornamented bowl. On both bowls are found mp 
masks from which the water streams into the basin. The charact- 
er of the whole is that of a sportive ornamental early Renaiss— 
ance. 

A work of greater extent is fountain Delille at Clermont-Fer- 
rand, a representation of which is given in Fig, 84. It was er- 
ected in the year 1515 by Jacques of Amboise near the cathedral, 
but was recently transferred to Place Champeix, where the octa- 
gonal basin was awkwardly replaced by a round one. In its spor- 
tively decorated elevation and even in part in the details of 
tas ornamentation, it still contains certain Gothic reminiscen-— 

és, that in an ornamental way are combined with the detaals of 
the Renaissance, with pilasters decorated by arabesques, as well 
aS additions of figures of many kinds. The whole makes an oris— 
inal and fancifully say impression. 

The fountain of the Innocents at Paris, the noble work of J. 

me 


noc 
Goujon, is more fully mentioned in S. 63. 


- 


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170 
Chapter VI. Renaissance under the last Valois kings, 
A. Principal masters and their works. 
61. Ghanged monditions of the time, 

#hon Prancis I died, he left to his son and Successor, if Br- 
antome must be credited, a state treasure of thres or four mil- 
lions without counting the yearly income. Henry II entered into 
power, filled with the desire of treading in the footsteps of 
his father, surpassing him in magnificence, splendor and fame 
waerever possible. A handsome man, well srown and stately, to 
whom the dark color of his face gave a particularly manly expr- 
6SSion, hardened and skilled in the physical exercises, he imi- 
tated him not without success in the knightly appearance of his 
father. Unfortunately given to war and to a soldier’s lifes, he 
exposed himself to danger like a common soldier; he had someth- 
ing of that spirit of personal courage, that distinguished his 
father. An excellent horseman and passionate lover of horses, 
be astonished by his knightly bearing: not less than Prancis I 
was he addicted to the pleasures of the chase, especially -hunt- 
ing the stas, exposing himself to its exertions and dangers, 
bravins all weathers. A master in the different kinds of playing 
ball, he also took therein for himself the hardest and most dan- 
gsrous parts, indeed not for the love of winnings, for then the 
parties bet only 750, 1125 to 1875 francs, not as later 15,000 
or 22,500 or even double, and the king always distkibuted his 
wWinninss to his companions. pikewise besides the lord of Bonni- 
vet, he was the best jumper et the court, and to spring over a 
moat 20 ft. wide was sasy for him. On such occasions he loved 

allow bis skill and strensth to appear before the ladies of 
the court, and the shrewd catherine de Medici never failed in 
seeing, that a splendid gathsrins of beautiful ladies was not 
wanting. o oe 

The relations with this remarkable wife were peculiar. fgot- 
istic and coldly calculating, aghe mast suppress hee love of 
power, the only passion of her life, and quietly allow the su- 
premacy of diana of Poitiers, whom Henry slevated to duchess 
of Valentinois. The intriguing Florentine in the firm convict- 
ion that her tims would come, even favored the connection with 
this principal mistress, as she did not scraupls for a moment to 
entangle her husband by the beantiful ladies of her surroundings, 


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tooqnes sidd. ai celh . eldizeog aE. 
a Saco & veto don s2ee II ytaok to faves edd 
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sales gnpeac .BIGeHSaILO _ hast iis 
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and all influential men at the court in love intrigues, and to 
corrupt them as far as possible. Also in this respect the cust- 
oms at the court of denry II were not merely 2 continuation of 
those of his father, whose court Brantome already terms“as quite 
nicely corrupt”, but the son knew how to surpass his model. 4 | 
monumental confirmation of this fact will be found in this, that 
while Francis I placed on his buildings only the name of his | 
quéen in addition to his own, Henry II did not shrink from dis- 
éributing the initial and symbol of his conenbine lavishly eve- 
fywhers. From these conditions cams the ever increased tendency 
to festivals and pleasures of all kinds, tournaments, masquera- 
des, exhibitions, ballets and dances, which in the description 
of the life of this king by prantome make themselves so extreme-— 
ly prominent. It is only necessary to recall the festivities at 
the entry of the king into Lyons, where alternated gladitorial 
combats, sca fights, efter the antique fashion, with the then 
almost unknown in France, the performancé of a tragedy, and the 
illumination of the entire city formed the conclusion. Hand in 
hand therewith went the yet increase., splendor of the external 
appe arance of it entire life. Fe shall only recall the noble 
armors with inlaid ornaments in gold or the hammered reliefs, 7 
the magnificent tapestries, the famous faience, that is design- 
ated as the “faience of Henry II”. 

But. if we examine more carefully, we soon find that the son 
still merely externally imitated the father, and this is part- 
icularly true in the domain of ideal endeavors. Likewise foll-— 
owins therein the traces of his father, Henry protected and 
prometed science and art. To a number of able and learned men 3 
hs gave pensions and support, the poet Jodelle received from hin 
1875 francs for his tragedy of Cleopatra, the cold Ronsard, who 
was the delight of the tine, called the kins“his support”, he 
caused a magnificent chateau to be srected for his mistress, a 
and the undertagings begun by his father, particularly the Lou- 

vre,and the chateau of Fontainebleau as well as many others, 

were continusd with no less splendor. But that personal relati- 
on to the Isarned, poets and artists, which occurred with Fran- 
Cis I in humans and amiable ways and was pased on a deeper app- 
prciation of all intsliectual creations, especially in art, that 
warm personal participation, which lent to all creations of *r= 


: oc Nee iy i 
eee aed ih #6 cr 
‘de etco vi ¢2 chit of .1I a ei bhava 

tt to ‘evel: edt: gext Swixge ten eooh fer to xottonorg a 
ese 2 edd eoteeat! ,owet ac? tenL dan wos to oyod wos, 
iriecsto Ghngdate .(C8EL-TaGL) antes Ord Saitiuh satieqisé 
pees Sue noiipoliet to yews tehootie # .notdaniqsaci. <9 
ink tt Sqtdn ck (sogtseteans donetd: 247: io Se ete seoud 


sate fot aeped fsa I stosaty te dooge edd gadu cneaqelevek 


See ditige Leiotectidoye Lenolten ad iotde ab ysenolt dé 
mer foreitc Sae oe eepiiae edt xd Setewethe. bua Seadai ylessb 
: c i 


; | gakton I2e4 
ehetee: duc yinole bhienn aii isaevetaness fanbasy & 
Senta to enor ecetas eat: Ito O49 bokeh \Fatedonos 
+a ent .Basabotote't«. to. ox ive edz 0% tense: done dake badag 
mkoay eithiys dosashus tieds yo med? of besyagat ceen 
bed? besa atiace yrisq saleaorcal. go 
2 22 68 urs ye xifeatt bas .etoneegne- ‘sad 
Bidens Tstosact ybeculé .gniereront no dn 
‘Pak eaee Bid olde .eteco ect 
wt Bednsvetg senganz? bedsaluyee 
niga ‘sagtiad Gheloense esode . 
¢ tc ‘Trengivos. eerie 
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he gag tans A@t yoancmns msoti hte: tine 
ee S400teVe 44. Race ais of ste! 
hattahed act Stdeo4 BA: REDE. he etoted 


| Bie ven ‘gr eto perry were te Bn08 ilh lds ate genus. 2 
Wire ae 516d $dt Heeseroad (OSB*H-CREL) neies ela to aay 
Berens en7? oct ,(ovet-0882) fT seltcdn (enotliin o3 

bac hegesd (Sett~-ayer) TIT vanee ert ene fae 

fede to enoisentaode Sne ntowsed 

bene ef yilsotfancteye aren cated EA ; funn divio fas Beast 
Watidacttacsat .W66SGa SiGdd Yo woohivent avckootte: sao’ 
phees ect ak slocd bebris-drow stew .eeenescditacsi! yd 

$ duottin yeenetorccs Bos greed saentit: .feveldoep.ciadal 
eeisaeg sds ceented saiuoven Weuczetiess ,d¢fat. bow 
20 to) sohtifoa.nstleyt ssobsint ent Yo hoisenseont edd 


age ot: 35 eneees sisi “edd 2o: qokeg end sade aoboon of 
a, 


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172 
Francis I the charm of an individual freshness and grace, we s 


seek in vain in Henry II. To him it is more an external splendor, 


his promotion of art does not spring from the love of it, buat 
from love of show and lust for fame, likewise the creations ore 
iginating during his reign (1547-1559), although already a cool- 
cr inspiration, a stronger sway of reflection are recognized, 
those monuments of the French Renaissance, in which came to full 
development what the epoch of grancis I had begun in lavish Sern 
the flower, in which the national architectural Spirit was more 
dseply imbued and saturated by the antioue and offeret its nob- 
lest works, 

A gradual transformation progressed slowly but sursly, that was 
completed during the reigns of the three sons of He ney, who con 
peted with each other for the prize of wretchedness.. The feeble- 
néss imparted to them by their ancestor by his vacillatias and 
irresular life, by increasing party strife and the disgraceful 
persecution of the Husuecnots, and finally by his senseless ext-— 
Tavagance, now went on increasing. Alrcedy Francis I must defray 
by oppressive imposts the costs, which his wars and magnificent 


court increased; but his regulated finances prevented worss con— 


Sequences. Under Henry II, whose senseless burdens by constant 
wars, luxurious court and extravagant equipment of mistresses 


shook the foundations of the national eh the annual défscit — 
rose to two and'a half millions, immense‘for that tine. Withthis © 


burden of debt he left to his sons the evermore insolent facti- 

ons of the great, before all being the Peet for power by the 
Guises, the unsolved religious question of the besinnins civil 

war. The three miserable sons of Henry, francis II, who in the 
i year of his reign (1559-1560) increased the barden of 


father, and the artful Henry III (1574-1588) heaped on the unt- 
ortunate il aii the horrors and abominations of the relig- 
ous and civil wars. All three were systematically debassd by 


i 
the atrocious intrigues of their mother, intentionally enervated | 


by licentiousness, were weak-minded tools in the hand of this 
female Machiavel. Without heart and conscience, without trath 

and faith, traitorously wavering between the EA: she is t 

the incarnation of the infamous Italian politics of that time. 


e . 
debt to 48 millions, charles IX (1560-1574), the true son of his 
Pr 


A 


No wonder that the pases of the French history are befouled with 


set ae ie ; : 

tis et Manes ahs vend dooce Biss 
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sige Sc 


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WBOOIS S43 ni. bolgad 


Ge 


wig 


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oy ‘ or ‘ J 
Plo etki Lecsoeilotc’s Llnicenag 


iain 


So meclg edd yd wooge thdt ot be 


p PRON BAG dsim. Hox te teileda a ois o2. boace a0 


173 
blood in this epoch, that under Francis II at the discovery of 
Gonde’s conspiracy ’asainst the Guises, thelve hundred nobles w 
were beheaded, that under Charles IX the horror of the night 
od S. Bartholemew broke on the unsuspecting Protestants, that 
Henry III by the sane cowardly treachery freed himself fron the 
Gaises. 

In such times when morality was poisoned, the national welfare 
was Tuined, freedom of conscisnce trampled underfoot, the count- 
ty was devastated by murder and fire, one must speak of splendid 
works of art, the historian must go to the work with depression. 
Particularly if this concerns monuments in which the love of m 
magnificence at least for the fame of the great was perpetrated 
at the cost of the entire people, in which will be recognized 
at the first glance only manifestations of self love and varie- 
ty. Yet there remains somethins else for deeper meditations. 
Juss in the time when human naturre seems to have turned ont 
its dark side, whene an inimical mixture of frivolity: and bigo- 
trey, of brutal power and insidious treachery poisoned the air, 
there is a twofold need to seck also the points of light, to 
uphold the consoling certainty, that the noble are only depres- 
sed and not destroyed sntirely. Sven for aatherine de Sedici we 
must notforsget, that bssides the wily Italian politics she also 
brought the love of art af her family to Brarce, and during a 
apparent reigns of her sons as an active patroness of the arts, 
particularly of architecture, she exerted a beneficial influence. 
But especially if we observe the couragsous faith of the Protes— 
tants, the ardemt tendency against Stete and Church terrorism, 
and aspirations of scientific life, in spite of the civil war 
also in the second half of the 16 th century made itssihirestra-— 
ined advance, how Bhish stands that fresh century of spirits ab- 
ove those later epochs, when the leaden roof of despotism ever 
more widely extended over Hurops, and even in germany all thase 
lands, which then joyfully attached themsslves to the religious 

rebirth, now long since reduced by Hapsburg Jesuitism and bloody 
drasoonades to the are rue faith, buried in the gloomy spirit- 
ual opposition of the papacy. q 
So we gladly turn to the powerful intellectual Life of that 
time. Thus we ars refreshed in this epoch by the gleam of light, | 
opposed to the des@lats unbelief mixed with Barscco superstition, © 


2 ee r or! 
al exited: of Yo sokaseeani sak ey of 


to edtow sit wert edeced fect hae 
eso ) tee edd cele oe bas We cnmetnie 
Bas etif Isascelics 


aa ifiw ackeaeraxe 


sPaatosii ots 
ey erutoetiaots donot® 
iatdvere bas 


sonond 


Heig 


fences emits tot 
‘ Oban buhidady Tier eevic 
ic Wibidtnskes: 
‘te afihie ett ‘Sdotad yivtede Ys f2isce8 ed4 
er ioidw weipse: ious ovigen to gcoioss a hewoeqoa yardaée 
Paes? gad wetetet isvesiber riety 23h tsktrae odd Chk) 
| Peivelanand Sas 
eke: ne a gk 
Wiival etssiiio 
Hoe fue “bbe be dq: lene Be isa ! 
(eeaiies! edd dein Petsamco ttactesnes etosstidords eyis 


enews fT = 
ke dd we 


BO guess eivn ivibs 
.wouebss? Basso 13 fz 
pb fecctten ‘Bs rit bank 


Shdeed 


174  - 
which makes so offensive to us the appearance of Gatherine de ] 
Medici and her kindred, and that breaks from the works of a 
Single thinker like M. de montaisne, and so also the art creas- 
tions of the time are evidences of the intellectual life and 
the sense of beauty, and are very welcome to us. But that in 
them henceforth prevails a different expression will result fron 
@ closer consideration. 

6.. Transformation of the architecture. 
In the later time of francis I, French architecture hed strbp- 
d off the last vestiges of the middls ages, and elevated its-— 
elf fromthe sportivs use of antique elements to a clear under- 
Standins and systematic treatment. Since Henry II sought in all 
points to imitatseshis father, then is also the architecture fi- 
rst the direct continuation of the tendency in which ended the 
previous epoch. Already the fact that the series of important 
buildings begun by Francis I, like the Louvre and the chateau 
of Fontainebleau, were to be completed, caused an adkerencs to 
the forms previously employed. The noble charm of the closing - 
epoch of Francis I therefore continued a long time. Meanwhile 
however many new conditions made themselves felt, from which 3. 
gradually resulted a strong transformation of architecture. ‘ 
The decisive one is, that shortly before the middle of the a 
century appeared a series of native architects, rhich no lons-— 
er like the earlier are plain mediaeval foremen, but feel then— 
€ artists, participaté.in the humanistic cult— 
ue, and complete their studies in Rome on the mon— 
que art. Only the Italian architects invited inte 
ad previously assumed such a position, and so the 
s henesforth competed with the Italians, not 
into a definite opposition to them. By thess 
external conditions a new element came into 
ropserly modern subjectivity. The 
= architects consciously expressed q 
itself in the various works, and the history of architecture a | 
now becomes, aS it had already long been in Italy, the history © 
of the architects. Likewise with an individula stamp on the 
works, there remains a common national ground tendency, which 
clearly differentiates it from the Italian. This national ele 
ment may be recognized in the plans, in the elevations ag well 


pe a” to 21 nok eft ‘epiesnco 
eatanes Bas wirelo rt 


qtatoetidors 


a Lh 
& itetas 
be a A A) 


“~~ 


&3 in the 


this now obtains the fully developed regularity and symmetry, 
that everywhere lies in the programme of modern architecture. 
Tosimany i 
projecting pokysonal stair halls, 


took pleas 
clear and 


airways beco 
flights, then reversed backward, as already the Romans brought 


into use i 
buildings. 
with doubl 
remains as 
ilionas at 

which by +% 
an effecti 
nethnerat 


ions, and 


artist 
anons tT 


an 
& certain 
contempora 
ladio. In 
qué romains 
tendency, 


on chat 


175 
decoration. What concerns the form of plan is, that 


ndependent extensions, the’round corner towers, the 
inka which the preceding epoch — 
ure, afte dropped and the facades are characterized by 
distinct rectangular directions of the lines. The st- 
me included in the interior with ight ascending 


stra 


th 


baths and similar 
also found sometimes very rich stairways 
6 flights; yst there are &lso exceptions. Yet there 
& genuine French peculiarity the arrangement of pav—il) 
the angles, also indeed in the middle of the facade, 
heir mass and also mostly by sreater hsisht produce 
ve rhythm of the lines. This is ths last echo of the 
towers, indeed translated into entirely modern forms. 
lavations make themsesives felt as national elements 
the great rectangular windows with their cress mali- 
before all the steep roofs with numerous tall chimney 
the dormer windows on all parts of the building, espe— 
sidan: Thellatter in particular are also den- 
dit Gothic ditions yicld in their 
i HOPE EORERE: hound and-even al- — 
ntal treatment nothing is saved, — 
mes and ecenactial : % 
entire details of the artistic membering sf 
in which the individual character of the differ- 
s is most strikingly recognized. Ons soon distinsuish= | 
he artists like P. Lescot, the fuller use of relief, 


sic theatres, amphitkeatres, 
There are 


pat 


tra 


sion, as a ioas by P. ae 1’Orme, for exan-— 
eau S. Maur. On the whole there makes itself apparent 
sodeavor for simple and severe means of expression, for 
quist carnestnsss of the surface decoration, such as 
ry Italians brousht into fogers like Vignola and Pal- — 
these ars recognized the more accurate study of anti- 
gs and of Vitruvius, the predominance of a theoretical © 
which at the same is expressed in the literary 


express 


tine 


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i tee seston nituted elastsh tiest at X32V corte es 
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176 - ! 
works of Bullant, du aercean, de 1’Orme. In the subdivision of 
the surfaces the Doric pilaster wins supremacy, and a system of 
niches is added thereto, as for example on the court of the bou- 
vre and on the chateau of Ancy-ls-Pranc. But soon it was found 
that the numerous pilaster orders made the facade rather monot- 
onous and puerile, which by the Senerally low height of the sto- 
ries of French buildings --- a natural result of the climatic 
conditions --- that appeared the more prominently. Therefore t 
those expetinents by arrangins two stories in one colossal oré- 
er of pilasters to give the facade an expression of dignity and 
Sizs, of which we havs already had an sxample in S. 36 im the 
later buildings of Chantilly. In these solutions the French ar-— 
chitects are entirely orisinal, as the consideration of charle— 
val (S. 78) will prove later. 

On the whole these French works now indeed es@ape a certain 
coldness just as little as the allied Italian, indeed even a so- | 
briety of expression, and sometimes one finds the air of this | 
chill, just as in the ode of Ronsard, but also frequently like 
the noble clarity of an essay of jontaigne. Lt even appears not 
rarely, as if architecture would do penance in the sack and ash- ~ 
és of a joyless conventional Dorism and a “morose”’rustication | 
for the joyful follies of its harmlessly sportive youth under 
srancis I. But besides this more severe conception another soon 

ins @ place, that may be termed the direct opposition, the br= 
@akins forth of a wanton fanoifal tendency, but which go longer 
appears in the free and aniabls naiveness of ths early epoch, 
but in an appreciable change to the Barocco. Thus the “white 
houses”, which Sharles of Bourbon added to chateau caillon (Ss. 
18), by its Daric rusticated columns, the usly hermesswith but- 
terfly wings and with volutes instead of arms, by the srotescue © 
Pans with goat less interlaced crosswise as a foolish show piece) 
of this false architecture. Picturesque and even theatrically 
animated atlantes, crouching Pans with doubled butterfly wings)” 
windows with broken and scrolled caps, overloadins by foliage 
shooting wildly into leaves, are seen on the terrace building 
of chateau Vallery (S. 24). This fantasy has the more apparent 
effect, that it goes together with a well known and correct tr-— 
‘'gatment, the rule of reflection shines through everywhere, and 
the absences of naivety is thus clearly recognized. Such build- 


ings often vary in their detals bétwiin monotony and overloading 


Bid cite 


it eon? 
hd 4 ; 


ae 


Hor there is reflected in it that tendency to forced excess, wW 


2. Oe a es ot ee VW 7. Mae”: 45 
Me ale SM ae aCe ie ae 1S 
i * } PANY Cag i ea t 
; Sy te i 
> d * . ‘ ‘ iy 


177 
as the time itself fluctuates between fanatic bigotry and shame- 
less excess. But it is very singular that the ssverity then pre- 
vailing in Italy, the breaking loose of this carnival of folly, 
in which we again have to recognize a true national peculiarity. 


Which the Frenchman, whose line of movement constantly rans to 
6xuremes, has lift since then in the domain of intellectual 
life. Buildings like thoss described above at Gaillon and Vali- 
Sty may be termed grimaces of architecture, and such srimaces 
also elsewhere sufficiently made by grench art. Meanwhile we 
mast not forget, that by its men inferior to “ichelangelo was 
already given a conceivable advance toward the freeing of the 
Subjective imagination. Yet there always stands the de generate 
Renaissance of Italy still sarnest and strong in contrast to 
the excesses of french ari. particularly does this architecture 
differ from the pompous pathos of the later Italian Barocco st- 
yle by its characteristic striving for a false grace, which how- _ 
ever strays so far from its aim, that it rather changes into : 
the farcical and the burlesque. 

63. P. Lescot and J. Goujon. 

At the head of the great masters of french Renaissance we pla- 
ce th amiable form of ®, Lescot, in whom the imaginative art } 
of the early Prench Renaissance was purified by the study of 
the antique, and finds exactly a classical expression. As it 
appears, hc was born in Paris about 1510 as the son of the lord 
of Clagny, his father of the same name, who belonged to the inm- ~ 
portant court officials in ths council of Brancis I. Growins ap ) 
as the son of a noble family in pleasant conditions, the young 
Pierre felt himself quite early attracted to the sciences and — 
arts, as his friend Ronsard informs us in a long poam:— 

“Thon, L’ascot, whose name flies to the stars, 
aast a natural equal; for beings at school, 
The destiny of thy spirit could not be forced, 
When aS always with the ink thou wast seen to trace 
Some beautiful picture, and already a Seometer, 
To place angiss, lines and points for a map. 
Then reaching maturity at the end of twenty years, a 
Thy couraseous spirit could not bs.content | - 
Without learnedly combining wish painting | 


4 


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peooze OFen eototginoa seodw .bebl~-£5eL. STBSy add afl, etowss 
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178 
The arts of mathematics and of architecture, 
Wherein thou hast so risen to honor 
That the ancient ase is by thee excelled.” 
That he went to Rome and studied thers the antique monuments, 
thers can be no doubt, even if neticonfirmed by written evid-— 
ence. His works sufficiently prove this, for then existed in 
France no-other means for obtaining a thorough knowledge of 
antique architecture. After his return he must soon have attr-— 
acted the notice of Francis I, as Ronsard again informs as:— 
“Henceforth the king Francis, lover of letters, 
Hirst admirer of thy divine intellect, 
Loved thee above all; this was at thy ase 
Littls honor to be loved by such a great personage.” 
It is certain that after 1546 he supervised the erection of the 
Louvre, which he conducted without interruption till his death 
in the year 1578. How sreatly Henry I; esteemed him, we learn 
from Ronsard’s narration: - 
“Henry, who after him Beld the sceptre of Brance, 
Having perfect knowledge of thy worth, 
Hill honor thy knowledga, so well that this great king, 
Wished to listen to no other men than thee.” 
The King appointed him to his council and as almoner, also as 
abbot of Clermont and finally in the year 1554 a canon at the 
Church of Notre Dame in Paris. Thus he must have received the 
lesser consecration, that met with less objection on account of © 
his careful and even learned education. It is characteristic of J 
the time, that the chapter of Notre Dame rejected him on account § 
of his beard, which he wore according to the custom of the courte 
Only on his sussestive plsa, the chapter dispensed him from the 
obligation of a canon by allowing himself to be shaved at least 
oncs in each thres weeks, and accepted him with his beard in i 


Lescot appears not to have belonged to the very busy archite= 
cts of the time. His fortune did not depend on his earnings, and 
the position at the court may have entirely satisfied him. We 
only know that he erected the rood screen in S. Germain 1 Auz— 
errois in the years 1541-1544, whose sculptures were executed 
by J. Goujon. Then he erected #n 1550 the fountain of the Inno- 
cents or of the nymphs, whers ths same sculptor sided hin, the | 


rr ppt, 
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179 
rood screen was torn down in 1745, and only a few reliefs from 
it are preserved in the Louvre. It consisted of three arches, 
she middle one forming the main entrance to the choir, whils 
those at the sides contained altars enclosed by balustrades. 
Hach arch was faced by two Corinthian columns, and in the span-— 
drsls wers ssen angsls with the implements of martyrdom. Above 
ths columns rose the four evanselists, and at the middle of the 
attic extended a sreat relief of the burial of Christ. 

Ths fountain was attached to the church of Innocents and open— 
ed by an arch to the Rue aux fers and with two to that of S. De- 
nis. About 1733 at the destroction of ths charch the fountain 
aas Carefully removed, and then with the addition of a fourth 
arch in @ rather senseless way was rebuilt as a square pavilion. 

On Aus. 3, 1546, Francis I appointed Lescot architect of the 
houvre, and after the year 1550 he received in this. position a 
monthly salary of 100 livres, considerable for that time, when 
for example we compare with it that of D. Boccador, who received 
for the erection of the city hall at about the same time only 
200 livres as annual salary. . 

Before ae speak of “escot’s principal building, the artist is 
&o be considered, that we have already found connected with hin, 
and to whom also ths rich sculptured ornamentation of the ;ouvre 
is due. But not merely as a sculptor, and indeed as preeminent 
amons all contemporary masters in France, but also as architect 
was Jd. Goujon frequently mentioned. J. Martin in his dedication 
of his translation of Vitruvius namas Goujon, who drew for hin 
the illustrations in his book, as“recently architect of Monsig— 1 
nor the Zonstable and now one of yours”, i.e. of Henry IT. pike= | 
wise he is named in the accounts of the cathedral of Rouen as | 
“stonecutter and mason”, and in the abstract of Vitruvius, that 
in 1556 J. Gardst and D. Bertin published, he is termed “sculp- 
tor and archibect of great fame”. Certainly no building can be 
referred to him, and it is even little probable, that-he execu= 
ted such; but his drawings for Martin”s Vitruvius and the Istter 
to the reader, that ae himself published at the end of the book, — 
sufficiently prove that he thoroughly understood architecture 
theoretically. He inpressively recommends to those skilled in 
building the study of gsomstry and perspective, calling atten- 
tion to the examples af Raphael, Mantegna (whom he-calis not 


— 


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180 : 

inferion to him in his tine), Michelangelo, Sangallo, Bramante. , 
“Thas feeling that they have acquired by labor and constant pr- . 
actice, they were singularly delighted to pursus this noble sub— 
jemt, that their immortal fame was extended over the entire cir- 
cumfsrence of the earth”. ;ikewise he mentioned Serlio, pescot 
and P. de 1’Orme as excellent architects, and then said that he 
had made these drawings because “in the past there had been some 
aifficulty in understanding the text of the said Vitruvius, es- 
pecially in the formation of certain members in masonry, a thing 
proceedings from the bad knowledge that our modern masters have 
of this, which is manifestly shown by the works that they have 
made in them, so much are they out of proportion and ont of all 
symmetry”. | 

Not merely the drawings, but even more the explanations given 
by bimself, prove Goujon a trained architect. One reads what he 
SayS on ths importance of perspective for ths proportions of 4 
different members; as he brings into consideration te location 
of the building for the modification of its profile, whether it 
lies in @ narrow alley or on an open place: how he establishes 
perspective as particularly determinetive for the form of the 
portal (p. 81); how he insists that architecture be placed on . 
@ lesitimate foundation by mathematical proportions: let men 
compare the examples of different capitals, bases, friszes and 
cornices, that he sives; the refined distinctions made‘by him 
in the design of a Corinthian capital, (p. 98, 99, 100), and a 
@omposite (p. 93), or of a Doric (p. 105, 106, 107, 4108): one 
considers what he says on the varied drawing of the Ionic volu- 
te (p. 72, 738), from which he asserts, that no one with the 
exception of A. Dilrer has drawa it entirely correctly accordins 
bo ths rule of Vitruvius; and much else of that kind. In Brief, 
We See Coujon initiated into the depths and refinements of arch- 
itecture and its science, and receive the same impression of his — 
thoroughness from his labors in this domain, and one might alm- 
Ost say, a learned acuteness of observation and research, that 
is peculiar to all sreat masters of the Renaissance, and impr= 
6SSSS on their works the stamp of perfect clearness, harmony 
and sverything. 

bikewise sufficient to assign an honorable place among the 4 
architects to the excellent master of the sculptures of the 


on a a a oe 


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pelt act Wiosd ed ct abain sseteen-fae qtedtros onc iin goed 
aaa od Sefenriae cess ved sw ss foe ,bsllLit oc of eteon 
yyeen ess acin becaemmoo 3F  .keiblied waa edd té naitoorws eng 
metxe (8) end duifaixe edt (Yo Ried asedteor ead beshet aoke 
p bore, poo yliaaiginc sestal 4) .msette ost of Isl isted gat 
We woteoo Latenes ett of Beiticons (amor te wor elgate s 
besten Ben Gollivag a. gatw'seew odd Honiot si stedw bre eats 
8 WM Gedte noce Seih 1 cionsii eonke stnsied eldstohisnoo 8 od 
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Be sentry: Jaane een Sivdoj edt, to dygco sat LIT waaee 


4 i Fee 
D ‘whinge 


181 a 
bouvre, of the chateaus Anet and Heouen, of the fountain of In- : 
nocents and so many other works. There belongs here without ques— 
tion a thorough knowledge of architectural forms, to sive those | 
monuments a sculptured ornamentation executed in the spirit of 4 
architecture, 

J. Goujon appears to have died in 1562, at least he aiveitpahdes 
with that year from the accounts of the Louvre. He was certainly 
born before 1510, since he already in 1540 worked in S. Maclou 
in Rouen, where among other things he made the designs for the 
columns that support the organ. He was a Huguenot like du ferc- 
sau, Je Cousin, B. de Palissy and other artists of the tims, and 
it was in the midst of the horrors of the relisious wars a con- 
soling view, when we see him intimately connected with P. hescot, 
the abbot and the canon of Notre Dame, creating his most beaut- 
ifui works. 

64, Palace of the Louvre. 

In order to obtain an understanding of the extensive plan of 
the Louvre, we have to make clear te ourselves the history of 
this building in a brief way. (See plan, Pig. 85). In the 14 th 
century the old casteliated building of Philip August consisted — 
of a keep (1), of all four wings (2) flanged by towers,agd which _ 
Charles V had transformed into one of the most magnificent cast- — 
les of the time by 2 splendid stairway and other additions. The 
nearly square court enclosed by the buildings measured 866 by 
361 ft. The structure was surrounded by moats, and with its mi- 
Shty towers dominated the course of the Seine, and was at the 
Sans time a bulwark against the adjacent city on the river above. 
In bis untiring love of building, Francis I just before his de- ~ 
ath decided on the erection of a new palace, first caused the 
keep with the southern and western wings to be tory down, the 
moats to be filisd, and as we have seen entrusted to P. pLescot 
the erection of tha new building. He commenced with the west w- 
wing, indeed the southern half of the existing one (3) extend- 
ing parallel to the stream. The latter originally consisted of 
&@ Single row of rooms, according to the general custom of the 
time, and whore it joined the west wing a pavilion was raised 
to a considerable height. Since Francis I died soon after the 
beginzing of the work, all these buildings were erected under 
Henry II. The court of the Louvre was originally planned to be 


“ St iy le Be uods 


nit wnten0o ar nk Pat 


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182 
about the same size as the old one, and in the construction of - 
the new walls the old foundations were evidently utilized. Aft-— 
er the dsath or her husband, Catherine de Medoci continued and- 
er Hrancis II and Charles IX the commenced building of the south 
wing, and caused the addition of new buildings in the opposite 
direction, in order to form a connection with the palace of the 
Tuileries (8, 9) begun by her. From the angle pavilion was also 
laid out a narrow and short connecting building westward, that 
led to a long gallery (4) extending at a right ansle southward 
to the Seine. This little gallery was 210 ft. long and 80 ft. 
wids, then having only a Sround story and still covered by 3 
terrace in the drawings of du Cerceau. pater was erécted in the 
upper story over it the magnificent “Sallery of Apollo”. The 
builder of this lower “little” gallery, that was besun about 1. 
1586, must have been P. Chambisges, from a family of architects 
occurring in several sensrations. It is stated that Lescot was 
condemned for inactivity, and the queen capriciously interfered. 
in the building, The written documents in Laborde are not merely 
Silent on this, but they rather prove the contrary. For both F 
Francis If and Charles IX confirmed bescot as architect of the 
Souves, and sven when Francis [I withdrew the supervision of t 
bhe royal chateaus from P. de l’Orme, faklen into disfavor, and 
conferred it on Rrimaticcic, the erection of the houvre was ex-— 
pressly excepted as remaining under Lescot’s supervision. Thus 
we should have another architect engaged on the same building ~ 
ao the sane time! Since we further know, that Lescot conducted 
the erection of the Louvre until his-death in the year 1578,and 
Since the “little sallery described is represented in the first — 
volume of du Cerceau, that appeared in 1576, so it mast be attr 
ibuted to no other than bescot. 

From the end of this sallery it then agein extended in the 
western direction parallel to the river, first being a pavilion 4 
(5), that in the upper story containsd the famous square salon, 
then adjoined the great gallery (6, 7), which measures te the 
pavilion pesdigueres a length of 550 ft., but was finally exten-— 
ded also about 720 ft. These buildings Lescot seems to have Gon- 
menced, for du Cerceau speaks of “some additions of galleries 
and terraces, on the side of the pavilion, to go there from the ~ 
palace that she (Gatherine) has caused to be constructed and er- 


od 


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jon ,(88GL) aney comet end! ni sosesoone cid ousgosd bcahes 
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183 
crected at the place called the Tuileries”, an extension that 
only suits the great and not the little gallery. But since at 
his death this part could not have advanced very much, and T, 
Metezeau became his successor in the same year (1578), we must 
designate him as the probable builder of the first half of this 
gallery. Its upper story seems to have been erected by his son 
L. Metezeay, who was appointed as successor to the father at - 
his death in 1556. Yet we must not Suppose, that yet another 
architect, P. Ghambiges, seems to have been engased on these 
buildings. : 

Now returning to P. Lescot, it is cHaracteristic for hin, that 
the external facade next the river has a severe simplicity, that L 
only secks to secure effect by imposing proportions and bold 
membering. Above the substructure, that rises with a high batter, 
Stand two stories of imposing height, the windows divided by a 
double crossbars, with antique sections of architraves, flat 
arches in hhe ground story, straight lintels in the upper, crow- 
ned by gables with rich consolss. The angles are emphasized by 
bold rustication, the stories are separated in a finely propor— 
tioned way by richly ornamented belts, and finally there is ad- 
ded a low upper story, scarcely half as high as both others, 
whose little windows show an architrave moulding and the £146 
arch. The termination is formed by a bold cornice #ith consoles 
over a frieze with foliage. The pavilion further adds an upper 
story of the hsisht of the principal story, which receives its 
light through high round-arched windows. Between them the walls 
are decorated by trophies in relief, and the antique gables, 
that rise over then, combining each group of windows into-.a 
whole, exhibit similar decorations. The heisht of the roofs has . 
allowed the artist to treat the chimney caps modestly, only the qi 
pavilion being charactecrizsd by a great steep roof with a colos- ~ 
Sal chimney cap, and finally a gilded lead decoration extends 
as the crowning of the ridge of the roof, for its entire length. | 

he seb be oa of this facade in du Cerceau exfresses a superior 
artistic power, that understands how to wisely consider its me= 4 
ans . ve the pavilion was regarded as a model, we saw at the 4 
city hall of Paris, and will meet other examples of its direct 
imitation. Oe: 

But that Gescot knew how to unite all elements of architecture 


EL 


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es 


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5 eebeost aenad ‘att a. nROne ak netstecoacs: pat 
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vw hefossacs dostidozs edd? doles setgemtude ne echtg 
eelig neisiniscd betalt to mote ye % Ud Estercech bes ee 
(ae od ensnico tfed haidact poiqetane os eledreg 's 
yeas edaead eyaniz cdsia {fame 4 horde soonted, agicacig | 
O43; To-e0fc%s gseth edt to ‘etdeb ent Si .iiew saz’ to: 
memnen.yé feeolo bus eisdeeoio efdich dtr kecbhte Apia eat 
sa senmnlod tisd bua exstecitg Yo mesaye, exe ad? seeder 
or qe edt no betescss ci . sistiqzo edizogrod Aéie tod Ss 
plz edt S58 | betting SIL Sth eossenes wOhrin edi fsx .vicds 
; fetoos isos yo Seawose yiesanusiie ets anobaiw beroions 
pad lading edt avo gciyl emobuie est yin .eqeo sate: 
Ber penot! Yove ebuvcdyssy baidcvond 20 gnteneto beosiglese 
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134 
in a composition is shown by the inner facades of the court (Fig. 
86). Since the ground story received valuts, there result mighty 
piers as abutments, which the architect connected by round arch-- 
es and decorated by a system of fluted Corinthian pilasters. At 
the portals he emphoyedi doubled half columns to enhance the in- 
pression, between mbich a small niche always breaks the surface 
of the wall. In the debth of the great arches of the piers lie 
the hish windows with double crossbars and closed by segmental 
arches. fhe same system of pilasters and half columns, likewise 
fluted but with Composite capitals , is repeated on the upper 
Story, yet the window recesses are here omitted, and the richly 
enclosed windows are alternately crowned by hosizontal or circ- 
ular caps. Only the windows lying over the portals haves @ free 
sculptured crowning of crouching sreyhounds or of lions. Ths 
termination is made by a rich frieze ornamented by sarlands and 
the emblems of Henry II, and a cornice with consoles. To this 

also added slabs of marble of different colors, rectansular 
in the ground story and oval in the upper story, which with no- 
bis enclosures by sculpture are inserted between the half colu~ 
ms above the niches. In brief, the entire richness of the early — 
Renaissance is developed, but it is a higher esthetic law tos 
Subdus a a beni cataenienas by sculpture. 
Ail members here ars ornamented with noble magnificence, and 
chus the architect has poured out a still richer wealth of dece-_ 
ration above the uppermost jeeen like an attic. Justly has he 
conceived it as a light crown of the whole, and therefore gave 
it enclosing pilasters and a splendidly ornamented frieze and 
cornice without consoles, above which as a termination is an : 
airy perforated crown in the most ornamental forms. The wind- | 
ows are flanked by trophies and emblems, but still richer is 
the ornamentation of the parts lying above the portals. Here a 
are figures in relief in the side panels and victories with 
arms of smblems above wide festoons in the arched sables, whi- 
ch terminate these parts. This is en architecture of the hish- 
est luxury, that here in connection with sculpture has created 
& work, which seeks its equal as a more perfect and also nobler 
expression od that sp&sndor-loving time. And since this richness, 
distributed with a refined artistic feeling, is employed in a 
well calculated graduation, is dominated by the clear course of 


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185 
the principal linesand the dignifisd proportions, it thus has 
its full justification. If one recalls in these surroundings ¢ 
that splendig world of the court of Henry II, with. figures par- 
ading in velvet and silk, in feathers and embroidery, then will 
he understand this architecture. 

The internal arrangement of the rooms is the following. The 
western wins, so far as built by tescot, consists of the ground 
story and a hall 120 ft. tons by 42 ft. wide. This is now the 
“hall of caryatids” serving as a’ hall of antiques. The great 
tunnel vault of large ashlars covers it and finds ea sufficient 
abutment in the wakis 10 ft. thick. prom the court the hall re- | 
ceives abundant Likht through its windows, and between them lies _ 
the doorway, that formerly was the main entrance. Another door— 
way placed in the right end forms the connection with the adja- 
cent stone hall, into which leads a direct entrance from the e 
court. The stairs reach the upper story in a direct courses, that 
changes above the landing. It is steel and toilsome, as all st- 

irs wers then. Its rampant tunnel vaults and the ceiling of ¢ 
the landing are covered by magnificent sculptures in excellent 
fe) 


execution. but the hishest splendor is attained by the sculptu- 
red ornamentation in the hall itself. 4t the end with the ent— 


rance from the stair hall J. Goujon placed four sracefully dra- 
ped caryatids, unfortunately with arms cut off. By means of Dor= 
ic capitals they support a too richly decorated entablatare, o 
over a frieze entirely covered by bent oak leaves and an [onic 
cornice. Over this rises a perforated balustrade, on whose piers 
are formed Senii with festoons of fruits. 
At the opposites end of the hall adjoins a tribune elevated by 

> Steps and corresponding to ths stair hall in form, enclosed 
2 tens of coupled columns, that are connected at the 

s by entablature and gable, opening at the centre by a rich=")) 

ly ornamented arch like a triumphal arch. The closing wall shows 
at the middle, corresponding to the longitudinal axis of the h 
hall, a fireplaces of a strikingly simple form. From the court f 
an independent entrance leads into this tribuns, it ends at the . | 
opposite end in a great apse 27 ft. wide. Adjoining this hall 
are large and small rooms, that lie in the corner pavilion and 
the south wing there adjacent. Notable is the convenisnt connec=- 
tion of the rooms and the skilful arrangements of the anterooms © 


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186 
ith the aid of different side stairs. Zach room has its firep- 
lace, not excluding even the smallest. The distribution in the 
principal story, which was intended for the royal residence, is 
the same as before, excepting only that the great hall is furno- 
ished with two fireplaces st the ends and has two side chambers 
instead of the tribune. The connecting doorways between the pr- 


incipal rooms always lie close to the window wal in order ‘to ob- 


tain as much closed wall surface as possible. The third story 
is divided into a number of living rooms and served. to receive 
the lords of the court. 

In all ,escot’s court facade of the Louvre is and remains: the 
unsurpassed mastorpiscs of the French Renaissance. Justly du 6 
Cercsan says:- “This masonry front is so enriched by columns, 
friezes, architraves, and every sort of architecture, that sym- 
metry and beauty so excellent,,that scarcely in all Zurope will 
be found its sacond”. 

65. J. A. du Gerceaa. 
In the series of important architects of this time also belo- 


ngs J. A. du Cerceau, although scarcely one buildins can be pro- 
ved as executed by him. In fact he ssams not to have appsared 
as a practical architect, for it is an exception of the church 
at Montargis, furthermore a rather wretched building, is to be 


2 
referred to him. But as a skilful and industrious engravsr he 
ired such importance for architecture by his numerous pub- 

lications, that he merits a prominent place here, por not mers— 
ly by the measurement and representation of the most famous of 
the chateaus of prance, as his best known and distributed works, 
but by a great number of his own designs, both in general dray- 
ings end details, does he prove himself to be a skilful and in— 
telligent architect. As such was hecthenrégrly recognized, and 
Je Veedeman in his Architecture that appeared: in 1577 at Antwr-— 
erp names him among the famous architects, and ” the widely 
famed Vitruvius, S. Serlio and the expert J.A.ferceau.” 

It appears that du Cerceau was born at Paris about 1510, yat 
rather earlier than later. Already in the year 1539 he published 
& map engraved by himsslf, and this issue was followed in the 
course of a longs and busy life by numerous greater works. Not 
mach is known to us of his lifs, still we know that he was a 
Protestant, who firmly adhered to his faith, although his prin- 


Cipal work must be dedicated to queen Catharine. The first volume 


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187 
of his theoretical work on architecture, that appeared in 1559, 
was dedicated to Henry IT, and in the dedication he thanks him 
for many favors received. His manual of perspective on the con- 
epary was dedicated to the queen. In his old age we find him as 
@ citizen of Montarsisand engaged in the publication of his work 
on the French chateaus. jontargis was then a place of refuse for 
the Reformed, “the retreat of those of the religion”. In the y 
year 1579 fe complains that age did not permit him to use as 
Srsat industry as before, in his, last book, the book of antique 
edifices of the year 1584, that was dedicated to the duke of 
Nemours, and he regards himself as among those belongings to the 
flugal court. Since the duke died in 1585 at Annecy near Geneva, 
wnere he had resided for several years in peaceful retirement, 
~ucre is the probability that du Cerceau likewise went there or 
to Gensva to escaps persecution, and that about the same time 
he died abroad. 

Besides a noe number of separats plates of various kinds, 
he published a series of connected works, that belong to the 
most important pb cations of the time. Some of them like the 
Buildings of France and different books containing antique mon- 
uments, Abt exclusively of drawings of existing monuments. 
In others he connects therewith his own compositions; finally 
in a third group he presents only independent designs. To the 
first kind besides the two volumes of the “Most excellent bail— 
dings of France”, that appeared in 157@ and 1579, there belong 
the “Collection of antiques fragments after L. Thierry, then re- 
cently deceased at Antwerp. Aurelia, 1550”. It contains 12 rep-— 
reseutations of antique buildings and is one of his earliest 
works. His latest in the year 1584 has a dedication to the duke 
of Nemours and the title of “Book of antique Roman edifices”, 
with illustrations of that kind on 63 plates. 

The sscond mixed kind with his own and of others belongs to 
his first work, which appeared in 1549 at Orleans like his other 
earlier works. On ths title pags he designates ths contents in 
a dedication as; “Twenty five examples of arches, partly desi- 
gned by me and partly taken from the monuments of the ancients”. 
On 25 plates engraved with particular refinement he gives at a 
large scale perspsctivse elevations and plans of the monuments. 
fhe work in beauty of representation bslonss with his most exe- 
@ilent works. Of antique arches it contains those at Verona, 


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188 

Bensvents, Ancona, Sus&, Alessandria, the double Sate at Ravenna, 
finally the arches of Titus, Septimus Severus and of @onstantine. 
These form a basis for him on which he makes 16 arches of his 
Own designing. The wealth of ideas that he develops therein, and 
the freedom with which he handles the antique forms, are worthy 
of recognition. On the whole he adheres to a noble mass and clas- 
ical purity of forms; but in certain cases appears a wonderful 
fancy in an entirely Barocco manner. He does not fail in model 
examples to which belong several arches of the Corinthian order 
repressnted on the first plates. Sharacteristic is a Doric arch 
flanked by frsely projecting Roman Doric columns. According to 
the ideas of the time, there were required warlike emblems as 
characteristics of this style. Therefore on the shafts of the 
columns are ligns’ heads, and on the projecting piers of the 
attic are 4 warriors passing on heavy battle chargers. In-an 
allied sense he smploys the Ionic to express luxury: spirally 
fluted columns, the arches resting on male and female hermes | 
figures with interlaced arms, on the attic being female figures 
with floating garments, flowers, cornucopias and garlands. Sary- | 
atids and atlantes, that are sufficiently picturesque, but very 
unesthetically embraces each other and support baskets of fruits 
on their heads instead of capitals, ara seen on another arch of 
the Gorinthian order. In naturalism sometimes sport even the 
principal forms of ths architecture, thus on the sixth plate 
the Gorinthian column, whose shaft 4s covered by palm leaves a 
and opium pods. Great diversity, partly with happy resalts, he 
also attains in the gretly varied upper termination and crowning 
of his arches. On the contrary two examples belons to the most 
wonderful among the Barocco excesscences of the time. He desig- 
nates them as arches of the Solomon order. The nature of this 
somewhat mystic style he seems to recognize in those twisted c 
columns that first appear in the Roman works of ths CGosmates of 
the 18 th century, then omployed by Raphael in the cartoon for 
ons of his tapestries, and later by Bernini on the altar canopy 
of S. Reter’s was personified in a colossal exaggeration. Besi- 
des there appear to belons to the Solomon order the arches on 4 
hermes with spirally interlaced legs like serpents, or the en- 
tablature rests en crouching satyrs. 

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nobnesae bevadiaseib yldoia dtiw noitsenaco blotines 
iteo aeioe32 to emiot efdon yd dniaevoo ateds Bue yencon 
bos <teendein elditeredyent ddiw Seiney oa erpyoes ino? 


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189 

but likewise with finely executed engravings, a series of 28 
plates, that he termed on the dedicatory title as5 “Zyomples of 
antique temples according to the custom of constructors’. But 
he adds thereto “other free examples described in no example” 
in fact of the erected buildings with certainty are only S$. 
Costanza (“Temple of gacchus”), the tempietto of $. Pietro in 
wontorio, the Roman temple of Vesta and the pantheon, finally 
also the portico of the temple of Antoninus and Faustina is to 
be recognized. The other buildings allear to be mostly free ca- 
prices after the antiaus, among which are prominent a number 
of spirited compositions executed in noble forms, Remarkable f 
for the time is again the zeal with which the dome and the cen- 
tral idea is varied in a great number of examples. likewise the 
tower building is frequently brought to a splendid solution, 
Sometimes in the more sportive manner of the early Renaissance, 
but then also in the noblest spirit of classical antiquity. — 

fo this charming book is closely allied another that appeared 
in 1551, the last published by him at Orleans, designated on + 
the title as “Most charming Optics, which is called Perspective 
with 20 figures”. But it must not be taken to be merely a text— 
book of perspective; rather are they 20 ideal visws of antique 
buildings ensraved with sreat delicacy on round plates, -that 
ertainly in their variety and charm belons to the most beauti- 
ul that have ever been created by suck explanations in ths an- 
iquée spirit. The artist employed these representations for the 
purpose of showing on aay: Sides the laws of perspective, that 
Ad applied masterfully, but under his hand it becomes.a repres- 

tation of Roman architecturs, that permits us to look into 

es places and markets of the old world with their porticos, 
basilicas and aphid with the rich views through collonnades 
and arcades, into the courts of palaces with their ecades, into 
the most varied tects of public buildings. particularly rich in 
invention, he knows how to subdivide public sauares by flishts 
of steps, and te produce the representation of an animated area, 
that is extremely favorable for exhibiting the principtes of p 
perspective. No less are the different forms of Roman vaults, 
their manifold connection with richly distributed arrangement 
of rooms, and their coverins by noble forms of Grecian column— 
ar architecture are varied with inexhaustible richness, and 


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f desateesd $Qeusis eds Oo eoiquia cds movt eneig te sod. 
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ma ©i srotesedd sBet0n Teenati das teifise ek of Pa 
bixtesen gon” Dbeosborg so¥ELOo AC. enziged 0& esen aks of 
pibas elhtte edd act!) 3nd (38674 ed? faa geocise to citeaned- 
bigs. qo Dentbia yoesais kated sosesG isnt on .“*nsacalo- 
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190 
Therein the line of the actual and the possible is nowhere cros- 
sed. The observer likes to think himself within these halls and 
beautiful surroundings, and he becomes in them so light and free 
in mind as before the best works of the Renaissance and of clas- 
Sigal antiquity. This series alone would give the author & cla- 
im to &@ distinguished place amons the first architects of the 
tine. j 
No less fresh and original flows the stream of his invention 
in the quarto volume that had appeared a year carlier:- “Book 
of the kind of pictures that Italians call Srotesques. Aurelia. 
“ie 1550”, New edition at Paris in 1566 under the title: “Book of 
‘ srotesques”. It is a précious collection of Spiritedly designed 
arabesques on 35 plates, drawn with perfect freedom. Here belo- 
ngs also a work of the year 1560:- “New book of J. A. Su Cerceau, 
containing many and various matters of 211 orde rs, both antique 
and modern”, It may be regarded as a continuation of the works 
Ghat appeared in 1549 and 1550; it contains on 26 f4lio plates 
several arate and drawings of antique buildings, among them 
being the triumphal arch of Besancon. 
In the co 51: ection of temples of the year 1550, the dedication 
promises the desirs of separately treating en a series of suce- 
sssive books tie temples, tombs, fountains, fireplaces and fin- 
ally the chateaus and palaces. The industrious artist has not 
rely carricd out this programme, but has given in a still more 

siding way bis Suides for buildings. This first appeared in a 

folio volumes at Baris in 1559 under the title:- “On architecture, 
the work of J. ae du Cereeau”. This in pursues the purely pr- 
actical purpose of laying before those desiring to build,a nan- 
ber of plans from the simplest to the richest treatment in sro- 
und plans, sections, Slevations and perspectives, in order to 
afford assistance for ths most varisd desires and needs. 

Tt commences with a dedication to Henry IT; the king has found 
pleasures in his earlier and lighter works, therefore he presents 
to Bin here 50 designs for houses, produced “not merely for the 
benefit of princes and the sreat, but for the middle and lower 
classes”, so that France being already adorned by splendid buil- 
dings, should have less occasion to seek beautiful architectures ~ 
anong forsigners and strangers. His text commences with an exple : 
anation of the French “toise” (cubic fathom of wood), ss well as ‘ 


if? 


MI _ 
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‘distances are connected by open arcades into a great square with 


EONS TT a ek Sere ae SES ey ae ee pa ee a oy AL le ii in 
} ; ry yee eee RCL. & 
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,191 
the principal parts of buildings. It then closes #ith an explan- 
ation of the plans given on a great numoer of plates. It compri- 
ses all stairs from the simple and even plain to the rich and 
magnificent. The plans exhibit great skill, are practically ar- 
Pangsd and developed in many ways, by which everywhere the regq- 
uirements of his time and his country are taken into account. 
The treatment of the details and the forms usually bears. the 
Stamp of a certain dryness, although it does not lack richer ads 
Signs; always and justly the principal emphasis is placed on 
tae general subdivision of the masses, as in all sound architec- 
ture, on ths animated outline, and therein du Cerceau &8ain sh- 
ows his mastery (fig. 87). 

Besides s great number of normally arranged buildings, there 


is indeed no lack of abstract combinations of many kinds, in w 


woich the architectural fancy of the artists of that time so 
loved to revel, Thus No. 16; Greek cross, entrance portico in 
the front arm, on the right the kitchen and accessories, .at the 
left the stable for horses, in ths rear the living rooms, at 
tac middie of the building a great circular structure with a 
Circular stair hall, thet terraced above and endings in a lant- | 
crn. NO. 27; a hexagon with three winding stairs in the angles 

of the inner court, on three sides of the polygon beins three i 
projecting square pavilions with the living rooms. No. $8;circ- 
ular plan surrounded by moats, in the interior divided into a 
Gresk cross, cross-shaped court in the middle; four winding 
Stairs in the angles. No. 87; four square stairways at moderate 


— 2 = 


a ee 


pavilions on the exterior for the living rooms, housekeeping and ‘ 
Stables; the stairs covered by terraces and ending in lanterns. — 
It is evident that the old partiality for stairways occasionally 
appears. No. 42; A Greek cross, square pavilions at ends and | 
middle connected by arcades, four stairways at the middle. Stall ‘ 
more wonderful is No. 44; about a square court with angles cut | 
off and with porticos on piers ars arranged the living rooms in 
Ons series, at the truncated angles project squares pavilions d 
diagonally. A variation of this plan is in No. 48, excepting t 
& here the principal sides are diagonal and the pavilions @ 

L rt is without arcades. The crown of 

er is merited by No. 49; the middle forms a decagonel - 
court with arcades, on five sides of the decagon lis sreet 


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192 

rectangular pavilions, between the two in fronh ars inserted ¢ 
quars second court with the farm buildings. (see Fig. 88). 

To this work wa.: added as a second volume the work appearing 
at Paris in 1561:- “Book of architecture, containing several d 
different arrangements of fireplaces, dormer windows, gates, f 
fountains, walls, and pavilions.” Thus it treats of the intern- 
al and external equipment of buildings, and in Spite of many 
elements tending to Barocco, it again shows in a favorable way 
the rich inventive sift of the artist. Ten different designs for 
wombs are added.In the dedication to the king he already expres-_ 
Sé8 his intention, approved by the former king, to publish the 
royal chateaus and other notable buildings of the country. As 

the third volume of this series appeared at Paris in 1582 es one 
of his last works, again with a dedication to the king, 2 new 
“Book of architecturs, which extends the plan of the first yol- 
ums, and on 38 folio plates collects designs for country houses 
from the simplest to the magnificent chateau. The introduction 
has explanations concerning the dimensions, naterials, calcula- 
tion of prices, in order to afford a standard for persons desi- 
ring to build, as in the first volume, for making estimates of 
cost. The gift of invention of du Cerceau again shows itself 

sre with inexhaustible diversity in a charming, though Barocco 
mannsr. Most of the designs ars practical, clear and Simple, so 
that they can be judged at a glance as models for country seats. 
Particularly pleasing are the smaller buildings in Nos. 5, 7, 8, 
9, 12 and 18, more stately is No. 11 with a fine portal and rou- 
nd morner towers, charming is No. lo with its ‘garden design, and 


a 


PS ee eo ee 


original in form and decoration is No. 25, but on the contrary : 
No. 2 is abstract and wopderful, with circular arceded court } 
ai the middle, four pavilions in the axes and square enclosing } 
building, the whole surrounded by a moat. Almost as strange is ; 
No. 30 with oval court at the middle, around which is srouped fi 


the buildings in a rectangle with pavilions and projecting ang— 
ie tomers. Curved facades are shown by Nos. 6 and 18, aad oges 
roofs frequently occur with othsr Barocco forms, espscially in 
Nos. 27 and 37. 7 
Besides a theoretical work, “Lessons in positive perspective,” 
which in 1576 appearsd in Paris in 60 plates small folio, still 
the grsat work in two volumes of the “fost excellent buildings 


in Bie a 


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eidaewat waa eviataoo mere oin ,etel tie Raingsess es 


193 

of France” is to be considered, which represents by numerous i 
illustrations thirty of the most important chateaus of France. 
Already the fact, that most of these structures have. yielded to 
the storms of the time, lends 9 high value to this work. Indeed 
the drawings do not lack haste and errors, and the representat- 
ions generally suffer by a certain dryness, but besides the an- 
iable industry and the faithful perseverance that du Cereeau has 
Shown here as in all his works, there is enjoyable the artistic 
freshness aid the clear animation of the representation. » 

Je A. du Caerceau had two sons, both of whom practically exer- 
cised the calling of architect; &, Baptiste, born about 1555, 
is already mentioned as dead in 1602. He was architect of Henry 
Tit and of Henry IV, was called to the building of the Louvre 
in 1578, and in the same year was entrusted with rebuliding the 
beidse Pont Neuf. At the erection of the chapsi of the Valois 
in the church af S. Denis he appeared as the successor. of Bull- 


3%] 


ed to his convictions, that being required to conversion by 
une demand of the fanatics, he preferred to resign his position 


t 


af 


ni. ;ike his father, he was a Protestant, end so faithfully ad- . 
ere 


and even to abandon the beautifal house, that he had buélt about © 


15384 in Paris. His brother Jacques is found mentioned after 1576 


and died in 1614. He was architect of Henry IV and of Louis XITI. 


He probably crected the second half of the great gallery of the 
jouvrs. Finally is to be mentioned the son of japtiste, Jean, 
who in 1617 was appointed architect i ;ouis XIII. He was named 
for the last tims in the year 1649. ; 

66. Philibert de 1’Orme. 

{mong the masters prominent by their executed works is first 
of all to be mentioned P. de 1”Orme besides Lescos, no less im— 
porta t than the latter, even if alrscady of essentially differ-— 
ent abilities. If the latter devoted himself entirely to artis— 
tic creations, then in the former the imagination was occupied 
by a stronger addition of reflection, which impelled him to om- 
brace the calling of theorist with zeal, besides the creations 
of the practical architect. He may be called ths French L. B. 
Alberti, even if he dees not equal the famous Florentine in 
depth and breadth of knowledge. He belongs to those thoughtful 
and reasoning artists, who always contrive new inventions, .and 
architecture owss to him important innovations in the field of 


f 
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ed: WS Be ede ae ag | A 


194 
construction. Then he obtained great influence by his literary 
labors, since he belongs to the first, who undertook in France 
Systematically to state the theory of architecture. 

De 1’Orme seems to have been born about 1515 and perhaps bel- 
ongs to a family of architects, a member of which we have alre- 
ady met at the building of Gaillon. This would explain how at 
&n unusually youthful age he had already succeeded in the art 
and the practice, for as he himself states to us, that in his 
15 th year he already had 300 workmen under his command. A short 
time afterward and still very yowng, he betook himself to Rome, 
where in a considerable sxpenditure of labor and monsy, he mea- 


Sured and drew the antique monuments. When on a day he was enga- 


ged with his men in this work, the cardinal of 3. Croce, then 


& Simple bishop and later Pope Marcellus II, came by with other 


cardinals and eminent nobles, spoke to him, invited him to visit 
him repeatedly, and took him onto his service. This must have 
been about the beginning of the year 1535, when ds 1’Orme was 
scarcely 20 years of ase. That he laready found himself ir Rome 


in icsae he himself says in his principal work. Yet his influen- . 


tial countrymen, G. du Bellay and his brother J, the cardinal, 
Soon succseded in inducing the very promising young artist to 
return to his native land; in 1536 we find him in his native 


city of Lyons and engaged in the ersction of different buildings, 


and about 1542 he began the portal of S. Nigier, when cardinal 
du Bellay took him to Paris ayd entrusted to him the erection 
of his chateau. 
‘hole he did not continus with these artistic undertakings. In 
she ca 1546 we learn to recognize de 1l’Orme as engineer and 
architect of fortifications, in which capacity he was ordered 
to meee twice annually the entire coast of Brittany with 


its fortresses. He had to superintend the shipbuilding in Havre 


de Grace, to visit the vessels existing in the harbors of Norn- 
andy, to supply ths camp of Boulogne with provisions, to place 
the fortresses in condition, and he had to protect the city of 
Brest from a threatened attack by tha Snslish. Thus like da Vin- 
ci and other great Italian artists, he was well sktlic@ in the 
science of war and of fortification of his tims. He already oc- 
Cupied this position under grancis I, and thus at the besinning 
of the resign of Henry II by a decree of April 3, 1548, he was 


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195 
appointed overseer of the royal buildings of fontainebleau, $. 
Germain, Villers Coterets and others. After this time he contin- 
ued in favor with Henry IT and diana of Poitiers, for whom he 
erected important buildings. Also he aid not fail in rewards and 
évidences of favor. Already in 1548 he was appointed councillor 
and almoner of the king, obteinsd several abbeys, particularly 
that of Ivey, like P. Lescot he became a canon of Notre Dame. 
How early his fame must have spread is seen by an honorable 
mention in Rabelais, where ths siese machines of the ancisnts : 
are mentioned, and de 1’Orme is invoked as an authority. | , 

The goodwill of Henry II and even more that of Diana of Poit- 

iers changed into opposition, At once after the death of the 

king, when Catherine finally cams into full authority. cabals . 
and slanders caused that already on the third day after the 
death of his father, Francis II deposed de l*Orme from his pos- 
ition, and appointed Primaticcio overseer of the royal buildin-— a 
§8. How he played tricks on the excellent ertist, we learn from 
& memoir by his hand, whose publication we owe to Berty. It is | 
@ precious document, that sives us a glance into the history 

of his life and creations. He defends himself against anjust 
accusations and slanders, that he had enriched himself in the y 
royal service, while in truth scarcely his expenses hed been 
repaid to hin. +or in his many journeys in the royal service ‘ 
hs had always kept 10 or 12 horses, and must hire at his own 
cost a great number of laborers and subordinate officials. He : 
Had farther allowed five nephews to study, had also retained > | 
and paid learned men, in order to carry oniscientific labors 
with then. Cosily models that frequently cost 260 or 300 thal- 
ers (400 to 600 livres), he caused to be made for the king’s i 
buildings, and for all this he had teceived 20,000 livres, as 
stated against him, but only 6,000 livres annual salary,”as 
weil as his gray psard”’. In just pride he enumerated on thse 
other hand his undertakings; not merely the important services 
erformed in the supervision of the harbors and the fortificat— 
ion of the country, but also the numerous royal buildings, that 
were superintended by him.“He had introduced the good architec- ~ 
ture into prance”and had rejected the barbarous forms. Import- 
ant inventions for the advantage of the king and. the country had 
been made by him in the construction of roofs, whersby it had 


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196 


became possible to cover buildings with shorter timbers and at 


much less cost. 


His justification must finally have prevailed, for in 1564 he 
received from catherine de Medi¢i the commission to build a new 
palace, the Tuileries, that would have been his principal work, 
if his plans had come to complstion. He was engaged on this an- 
til his death, that occurred on jan. 8, 1570 (1571 as recently 
discovered). prom his earlier period (after 1552) dates the cha- 


teau of Anet, the splendid residence of Biana of Poitiers, in 


Sreat part destroyed in ths Revolution. Yet earlier occurs his 


first important building, the chateau S. Maur, which also. no 


longer exists. We add to this the portel of S. Nizier at byons, 
the chapel in the park of Villers Coterets,\ where for the first 


time he employed the colonnade named by him the “French order”, 
and further the tar eo at S. germain, La Muette, Monceaux, 
Madrid, S. Leser, where he built a great gallery, the chapel 
and the pavilions of Gimonis, Vincennes, Coucy and Folembray, 
with finally his participation in the tomb of Francis I at S. 
penis, and the sketch for the nefectory of the abbey of Mont- 
martre, as well as private buildings in Lyons and Paris, thus 
we have @ view of an extrehely extensive activity. Binally to 
belong his wr itings, that msrit a separate consideration. 
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the artist to sive his invention to the world in a book. This 


work however appeared after the death of Henry II under. the 
title:- “New inventions for building well and at small cost, 
made by P. de 1l’Orme, native of Lyons. Paris. 1561”. 


More important aS evidence of his general artistic views is 


however the second and sreater book, that he alrsady hints at 


in the text of the former. It was to contain in two folio volu— 
es 2 complete theory of architecture, according to the examples 
of Vitruvius and of 1. B. Alberti. The first volums, for the p 


Ss inclination toward tisa orsiical considerations, ts 
the scien ete basis of his art, also isd him to lifelong acti- 
ity, and the first literary work that we possess by hin, rela- 
s to his invention of 2 novel construction of roofs, that he 
rst employed in the chateau of Monceau in roofing a hall for 
playing ball for Catherine de Medici. The queen and her husband 
took an animated interest in this work, and the latter induced 


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197 
orsparation of which de 1’Qrme utilized the compulsory lsisure, 
whils he had fallen into disfavor at the court, Appeared in 
1567 in Paris undér the title:- “First book of architecture by 
P. de 1’Orme, councillor and ordinary almoner of the king”. He 
begins with the dedication to the queen mother and a letter to 
the reader, in which he complains that there are so few skilful 
architects, since most ars only onesided theorists, or possess 
an exclusively practical training. meanwhile hs slorifies in an 
inspired manner the dignity and nobility of architecture; he d 
derives its corrsct dimensions and proportions directly from 
God, the experienced architect of the world, and modestly makes 
known that the works created by himself, and by which he found ‘ 
a gsneral recognition, satisfied him so little, that he desired 
to rebuild them anew, better and more beautiful. 

Interesting is what he then tells us of the condition of his 
time in the freface of the first book, how master masons or mas- 
ber carpenters, or indeed “even a painter or a notary” set up 
for themselves as architects and by babble and fhattery know h 
how to fool the owners. How strongly he is opposed to the pret- 
ensions of the painters in particular , the numerous “makers of 
portraits and drawings, most of whom do not know how to drag 
well or to describe anything”, and hs shows later in the 40 th P 
Chapter of his book, that one will be the less blamed for those 
sharp words against dilettanteism, when it is considered, that 

for years the intriguing Primaticcio could supplant him. The 

charming superficiality of architectural cheats must be doubly 
offensive to a man, who in 4 just self-respect says of himself, 
that he has busied himself for 35 years and more in the study 
of atchitecture, and whose work on all sides furnishes proof of 7 
his thorough scientific training, his comprehensive artistic 
studies and of his great practical experience. Hs everywhere 
insists on the combination of theory with practics, desires to : 
know nothing of those who deceive owners by designs already ex- ~ 
ecuted, who know nothing and emphatically recommend making for 
important buildings not merely one but several models, in order 
to make their effect clear to thamselves. That he is himself 
an excellent draftsman appears from the woodcuts of his book at 
a very large scale, which he drew with his own hand, according 
to his statement. That he drew them and accurately measured the 


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198 
most beautiful antique remains in Rome, affords new evidence of 
the thorough and laborious studies, that the sreat masters of | 
the Renaissance made without exception, and by which they shame 
the indolence of the present generation of architects. De 1’Or- 
me’s representations of the antique columnar ordePs balons to 
the best that we possess from the sime for such works. With 
what attention he examined the monuments is poved amons other 

things by the discovery mads by him on the beginnings of antique 
Ionic capitals of the church S. maria in Trastavere, where he 
found the point fof placing the compesses for describin§ the vo- — 
lute curve. | : 
His work is divided into nine books, In the first he speaks 
of the materials, testing and choice of the site of the buildign 
and its orientation. The second treats of foundations and the 
tools that the architect employs’ the third and fourth are ocen- } 
pied with stonecutting in a thorough way; the next three treat | 
of the four orders of columns, to which he adds a fifth of his ‘ 
Own invention, the eighth sives information concerning the pro- ; 
portions and forms of triumphal arches and portals, as well as 
of windows; finally the ninth is on the arrangement and ornamen-— 
tetion of fireplaces in rooms and salons, and also of chimney 
caps on roofs. The most important pakiccomprisss two books on } 
Stonscutting. The middle ages treated this seience in its lodg- 
68 a8 a ssorst, and the new architecturs must consteuch and foo- © 
d the science of stereotomy on a new basis. It is the sreatest 
merit of de l*Orme, that he solved this problem for the archit- 
ecture of his country and for his time in a manner both scient- 
ific and clearly intelligible, thereby giving architectures a 
common and firm foundation. The position that he takes.in this 
peey in opposition to the old national art merits being noted. ’ 
@ says that he will not disdain those vaults “in the French a 
manner”, since many sood and difficult constructions were oreo 
uted with them; but those acquainted with the true architecture | 
no longer follow that method of construction. Yet in his works 1 
t 


ra) 


he sufficiently proves, that he thoroughly understood Gothic 
construction, for he gives complete general schemes for the 
execution od Cothic ripbed vaults of the most complex kind, 7h 
wherein he does not forget even the pendent keystones. But he * 
prefers vaiits made semicircular in the antique fashion as 


pants 
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199 


Stronger, Hetter and more durable, and explains their advantages, 


which hs finds not nearly in Statically structural lightness, 
but also in the ticher and more tasteful decoration of which 


they are capable. In the same sense he expresses himself against 


the depressed and the oval arch. But there is still enough of 


the spirit of the mediaeval masters in him to find enjoyment in 


the most complax constructions, which he shows especially in t 
the problems of different winding stairways, and particularly 
in the difficult shell or trumpst vaults for Supporting the 
projecting structural parts of the upper story. . 

What concerns the artistic character of de 1’Orme is, that 
he lacks the nobility and refinement of Lescot. His world of 
form, as it appears in the given examples of portals and fire- 
places as well as in his executed works, is not merely dryer, 

t also already often approaches to Barocco forms, to breaks 
of all sorts and endings of the members. Even wonderful appears 
& column in the form of a rough trunk of a tree with ae capital 
of curly foliage, that for certain cases is recommended by hin, 
6at kind of column is more recommended, that he first designed 
for the chapel of Villers Coterets and employed later at the 
Tuileries and elsewhere, and which has been imitated. by many 


French architects (Fis. 89). If the Greeks and Romans were per- 
the columnar orders, he argued, why then should — 
1 


mitted to invent 

it not be allowable to invent new forms of columns, and to call 
whem “french”? At least he allowed this to himself, and since 
he was unable to obtain wh aber columns at Villers coterets, 
he hit on the idea of concealing the joints of the separate dr- 
ums by projecting bands with ornaments, so that they would ap- 
pear very beautiful and attractive. It is certain that this go. 
favorite form in the late French Renaissance is ons of the most 
rational and acceptable iis pases of the beginning Barocco st- 
yle, and it must entirsly satisfy those, that everywhere desire 
the ornamentation to appear only as a symbol for the const¢ruct-— 
ion. Bui it is likewise certain, that when the Greeks joined 
together the separate drums so closely, that the columns appear 
as monoliths, and the continuity is emphasized by the sleamins 
flutes as strongly as possible, they showed a more elevated and 
refined art feeling. 


wheres he treats it Like a wooden post. On the contrary a differ- 


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200 

AS & more cheerful conclusion of his work, de 1’Orme sives a 
She pictures of the true and false architects in tao large drag- 
ings. The first is seen in @ landscape full of magnificent buil- 
dings, through which ripples a stream, that abundantly waters 
the trees clasped by srape vines. In dignified quist. he instr- 
ucts & youth desirous of learning. To indicate his skill, he 
furnished the artist with three eyes and four hands, and furth- 


oP with winged shoes on his feet. On the contrary the false ar- 


chitect wanders through an uncultivated landscape, in which are 
seen only misshapen stractures. He is without eyes, ears and n 
nose, but is represented with a great mouth “to babble endrlie”: 
with a long gown and the cap of a learned man“to counterfeit a 
great doctor and to keep up a good appearance, so that men will 
think somsthins sreat of him’. Besides he has no hands“to show 
that those represented know not how to do anything. In his path 
lie ox skulis“that signify a gross and heavy mind”, and stones 
on which he stumbles, while deformed bushes retain his waving 
cloak. 

68. Chateau of Anst. 

Among the buildings executed by de 1’Orme chateau Anet must 
be termed his principal work. Erected am the order of Henry II 
for Diana of Poitiers, it was a creation buibt at one gush in 
entire fresdom and without limitation of means, as de l’Orme 
States, and therefore is the best touchstone for the artistic 
Spirit of its builder. Partly destroyed in the Revolution, part- 
ly deprived of its artistic ornamentatiou, it is recognizable 
by us in its original form only from the drawings of du Cerceau. 
Anst lies in the vicinity of Dreux in a plain, through which 
flows the river Hure. In the middle ages it was a royal domain, 
that Charles VII sranted to P. de Breze. His srandson married 
as his second wife in 1514 Diana of Poitiers, who later obtained 
such great influence over Henry II, 20 years younger. The king 
caused the old castle to be mostly tory down, and a new and mas- 
nificent chateau to be erected by de 1’Orms, whsrein however as ; 

; 


appears from ais writings and is shown by the plans, certain 


parts of the old pbuilding must be retained. f } 

That he executed them with great skill and without breaking ; 
the clearness and symmetry of the new building is proved by the 
plan (Fig. 90). The extensive plan is surrounded by a moat and 


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201 

by walls with projecting bastions at the corners. Over a dran-— . 
bridge one passed to the principal entrances, treated as a sspa- 
rate gate structure, imposing and almost like a fortifocation. 
With a curved projecting wall there appears between four wide- 
iy spaced Doric columns, two smaller side portals and a great . 
middle portal, the latter crowned by a wide arched niche in wh- 
ich was placed B. @sllini’s famous bronze figure of the nymph 
of pontainebleau. On the other hand at both sides tiie Doric. 
columns ars connected by sntablature and cornice with a closed 
parapet. 

At the same height terminate the adjacent parts treated like 
a fortification, that however end in a parforated balustrads. 
The forms of the latter are composed of twisted ropes, and ara 
charactsristic for the characteristic for the character of this 
epoch; the motive appears insipid anf therefore aise capricious. 
Indeed ugly are the Sreat chimneys rising at the angles with ry 
their heavy caps in the form of curved Sarcophasuses, whose sur- | 
faces are covered by monotonous flutes and heavy foliage between 
very dry mou ai ings. Likewise their crowning by scrolled broken 
in the form of volutes is sufficiently Barocco. The sar- 
hat appears on all chimneys of the chateau and even 
ndid fountain, is indeed an esthetic expression of | 

On the widow, with which this chaste pjiana coquet— 

ted’for a entire life. | 

In the upper story the middle building of the chateau takes | 
the form of a flat terrace rounded at both sides, from which er 
rises a middle portion like an attic. This is covered by fiuted 
elongated volutes instead of pilasters, shows in the middle pan- % 
el the dial of a clock, niches in the sides panels, and bears on 
its crowning volutes the figures cf two hounds, who gaze at a A 
Stag standing in the middle. As de 1l’Orme states, the Hounds : 
announced the hour by bells, the stas by pawing with his feat. / 
However heavy and tastcless and also even Barocco in the detai- & 
is, the members here throughout, it was the duty of the archit- ~ 
ect to sive the expression of isolation to the chateau by orig- 
inal and effective composition, as proper for Sach an ontsr gate, 
as he has happily done. Besides while he rejected for this ext- | 
ernal facade the mors refined decoration by sculpture, he has 
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202 
Serpentine and marble, as well as bronze over the portals, on 
the friegzes, attics and plinths of the uppsr structure, to his 
work and character of senuine magnificence by the use of an 
ffective polychromy. 

The interior of the gate building is formed as a stately 
taree aisled entrance hall, with a high middle passage openings 
in arches and low side aisles, separated from the middle aisle 
by arches on piers. In the side rooms were at one side the dwei-— 
ling of the porter, at the other a place for servants. The arr- 
ansgament and distribution as well as the internal architecture 
of this sateway shows the assured hand of a master. 

Bassinsg further in the principal axis, one now reaches the 
‘great and nearly square court of honor, that was enclosed on 
wares sides by the residence. At the right and at the side opp- 
osite the entrance extended an arcade ed passase in the ground 
Story, resting on oat piers with a horizontal enteblature. 
The main stairway lay at the right in the angle of the joining . 
of the two wings: another stairway was connected with the ent- 
rancs at the middle. The architecture of this portion was simp- 
le and with sood effect. The upper story recsived its light by 
alternately wider and narrower windows, abl divided by two cross- 
bars, the former having also a vertical middle mullion and an 
anhhan @ gable. The sparingly used dormer windows are. crowned by 

arched scala that rest on broken entablatures in Baroeco style. 

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building a middle part dominating the whole. Opposite the prin- 
cipal entrance in the axis of the building he placed a portal | 
likes a triumphal arch, that in its two lower stories correspon- 
ded to the two stories of the court, but then a third story ex— 
tended high above the roof. This is the portion now erected at 
Baris in the School of Fine Arts (Fis. 91,. Paced below with 
Doric, then with Ionic, and above with coupled Corinthian col- 
ums, that bear a corresponding broken antablature, it recsives 
& vich ornamentation by niches with statues and by reliefs. The a 
great principal niche of the upper story contained a statue of : 
the deceased husband of Diana, Louis de Brege, instead of the ; 
Gupid in our fapresentation shown as stringing his bow; with 
the inscription characterizing this faithful widow: - ‘ 

“Breze stands hers by the favor of the married diana, 


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203 : 
And long to his powers are monuments erected”. 

On the middle attic bhat crowns the.whole was seen a great s 
shield of arms supported by advancing lions. The refined devel- 
opment of the architectural forms, ths elegant capitals, the no- 
ble divisions of the cornice, the delicate laurel branches, that 
Surround the lower portion of the shafts of the Corinthian col- 
umns, give evidence that de 1’Orme %knew how to develop at the 
proper place a more refined classical architecture, We must not 
forget, that then prevailed amons the masters of the Renaissance 
leading the fashion a certain dryness of forns, particularly r 
rustication and the insipid Roman Doric style as 2 characteris-— 
tic expression of rural architecture, just as G. Romano has so 
miserably characterized the palace del Te externally in this 
sense. Furthermore whether we can allow de 1’Orme to pass for 
the designer of this splendidly effective triumphal arch must 
remain uncertain. We shall see that J. Bullant had perhaps al- 
ready employed this composition a few years earlier on chateau 
Bcouen. 

T#o still larger courts extended at left and right of the ma- ; 
in residence; that on the left was arranged as a regular rectan— 
Sle with a magnificent Barocco fountain at the middle, on which 
tose J. Goujon’s bronze group of Déana with a stag and two dogs; 
saas on the right with a smaller fountain, was irregular and was 
bordered by the remains of the older building. Into the latter 
led from the side a separate and likewise stately portal, yet 
treated more likes that of a castle, from whose embrasures de 1” 
Ormé caused cannon to project. | 

From the adjacent wing of the noble residence projected a cha- 
pel in the form of a Greek cross with rounded ands, the central 
pare crowned by a circular dome and lantern, the angles filled 
internally by two towers with plain pyramidal roofs, that con- 
tained the stairs to the gallery, and. next them were two rooms 
intended for sacristies. Ths. handsome portico with coupled col-= 
umns extends befors the entire front of the building. The inte— 
rior exhibits a noble and rich treatment in classically devel-— 
Oped forms, Corinthian pilasters with original capitals with s " 
sedge leaves, between them being wall niches, the arches and q 
tunnel vault slegantly stuccoesd with ornamental bands that enc- 
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faa,,2sfg04t0 Vilensetot een cmoot phic sl3thi eaedt. 


#9 eBeoed ext -b000b [fama yd betevos fae esdokn inet 
y wetsthtrs ane? Ipotasalo Clotevoe ptldiaxe ff 


6 elttin ead mh eon tag eefotn S286 fiotin res me Ra 


204 
chat imitate antique Victories, the dome #ith coffers of lozenge — 
shape. The sculptures are from the hand of J. Goujon, and like 
the chapel itself belong to the still tolerably well preserved 
parts of the building. Besider there now exist only. the main p 
portal of the left wins adjoining it. 

At the rear of the plan of the chateau adjoins for its entire 
breadth an enormous Sarden lawn 400 ft. wide and about 250 ft. 
deep, surrounded on theee sides by arcades in a dry rustication, 
“hich gives”, as du Cerceau says,“a marvellous splendor to the 
view of the garden”. The connection with the noble residence is 
made by a wide terraces between projecting pavilions, from which 
one sees the garden and both great parks with their alleys and 
moved lawns. Two fountains were placed in the middle of the gar- 
den on ths axis of the two pavilions. In the garden arcades and 
the terraces the pavements were covered by slaged tiles with 
rich patterns. A fragment of them was brought to lightlin the” 
forties (1840). It is seen that the entire design exhibits prin- 
cely wealth, and was treated entirely in the sense of the modern 
time. As an scho of feudal castles are to be mentioned only the 
moats anf the fortified walls, as well as the little turrets 1 
like bays corbelled out on the front ends of the two wings of 
the chateau. Likewise belongs here the round bay corbéelled on 
@ shell vault and belonging to the cabinst of the king, whose 
construction de 1’Orme treats with special care in the fourth 
book of his architecture. 

With the most interesting parts of the chateau we finally 
reckon the tomb chapel, which Diana caused to be erected at the 
left of the chateau, and a drawins of which is given by du Cer-— 
cheau. It was a smail buildins consisting of an elongated rect- 
angle with a projecting s¢micircular apss, with a single aisle 
coversd by a tunnel vault, with severe and plain forms. A para— 
pet separated the front aisle from the choir, that showed two 
rows of choir stalls at cach side. Peside the choir projected 
two transepts, making the building cross-shaped externally, th- 
ese containing galleries in the upper story with their stairs. 
These little side rooms were internally circular, enlarged by 
four niches and covered by small domes. The facade of the chap- — 
el exhibits severely classical forms, Corinthian pilasters,bet- 
ween which were niches with statues, in the middle being a portal 


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205 


with attic and a round window over it. Then over the entablature © 


with swelled frieze and cornice with consoles was a hish attic 
with Doric pilasters, the middle building crowned by the addit- 
ion of a Sargophagus, before which angels with palas kept guard, 
and sbove whicr rose a figure with the inevitable arms. 

Before we leave the masterwork,of de 1’Orme, we still have to 
consider the magnificent treatment of the shaken That was des- 
igned and executed by the same artistic Spirit, and extended o 
over all parts of the building, siving it the character of inc- 


omparabls harmony, which we recognize from the enthusiastic des-— 


criptions of contemporaries. Of the splendid eéilings, the car- 
ved woodwork and the painted wall tapestries, only paltry vest- 
iges remain. just as little exists of the slagsed tile floors, 
for which the most. distinguished artists were employed. Of the 
sculptures of J. Goujon at least are shown those of the chapel, 
as well as the fountain group in the museum of the Louvre. For 
the numerous doors and for the wainscots of the walls had been 
used the most costly and rarest kinds of woods. What remains of 
these partly bear the character of the bold relief treatment 

in the dryer members and rich emblematic pansls, loved in this 
epoch, and they also partly show a moderate relief and more pic- 
euresqus treatment by inlays with the use of woods of various 
colors. The artistic perfection of the whole extends with ever 
constant care to even the least details, 

When we have developed our conceptions of beauty on the charm 
of Grecian forms, it is not easy for us to judge properly the 
creations of this time. Quickly are we repelled by the heavy 

and in part Barocco mode of sxpression, and we are inclined to 
turn away from these works as offended. But thereby comes to us 
& strong impulse toward the senius of that sreat nasters, who 
Ghougat so earnestly and highly of their art, and created such 
noble things in si De 1’Orme expresses himself in numerous pla- 
css with sufficient clearness on the essential in architecture. 
In ons principal passage he says:-“I haves always been of the o 
Opinion that it is better for the architect not to know how to 
make ornaments, enrichments of walls or elsewhere, and to under- 
Stand weil what is necessary for the health and preservation of 
tch persons and of their goods. Today the practice is entirely 
the contrary. I do not say that it may not be proper and very 
well to make very beautiful ornaments and snriched facades far 


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bene yeby ciot ehbeinond foe esisilidsa eitdas eid sain 
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, sat Se esnsoctidows sosisg edd toi lechi vectnia sad. tac 
ae ean en tedu dave Jed ears xeig wleten.ton benisi 
thers: OF sGidssiakcoeian davis shen sete! sen etonexs of 
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ie 0 peeoywws od? to sca ng wevi¢erzo 29%: m20% of sitesh 


d me | 
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Ror ee es Sr 


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206 ; 
kings, princes and lords, where they desire this. Bor that gives 
great satisfaction and pleasure to the eye: chiefly when such ~ 
facades are made in symmetry and true proportion, and the orna- 
ments are placed on such places as may be necessary end reason 
able. Hor this I advise the architect and all that make profes- 
Sion to build, that they study rather to know the nature of the 
place, than to make so many beautiful ornaments, that most fre- 
quently merely serve as snares for taking men, or what is in t 
their purses. So I would not that the said ornaments shonla pre- 
vént, that one could give the true means required for a hall or 
Chamber, and also that one cannot place the doors, windows and 
fireplaces in the most convenient and necessary places, without 
doing anything by compulsion, otherwise than by the means of 
art and of nature”. 

These good principles the master has decidedl: employed on 
his buildings, and whoever knows how to appreciate suitable plan 
and distribution, well considersd contrast of the masses, seffec- 
tive movement of the general outlines, noble proportions and yr 


‘ 


rhytamic division, will everywhere recognize the great architect. — 


But for him from whom ay unhellenic profiled “egs mouldins” con- 
ceals all these advantages, there is generally no help. 
69. The Tuileries. 

The grandest problem of his life was partly for de 1’Orme, 
when fatherins de Medici entrusted to him the building of a new 
palace at Paris. In this problem the master plainly sought toe 
bring his entire abilities and knowledge into uss, but his vasé 
plan that du gerceau gives, and thet would have personified ab- 

the highest ideal of the palace architecture of the time, 
ained not merely unexscuted, but even what he was allowed 
to execute was later made almost unrecognizable. We are left to 
the unfortunately insufficient drawings of du Cerceanu, if we 4 
desire to form for ourselves an image of the purposes of the a 


architect. 3 
About 1564 the queen decided to cause a new palace to be built 


for herself in the vicinity of the louvre at the west of the ga- 


tes and walls of the city, and which received the name of the 


Tuileries from the tile works which then lay there. She entrast- 


ed the erection of the building to By de 1’Orme, who carried on 
the work until his death, and was then succesded by J. Bullant 


4 #3 
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207 
after 1570. But already in 1572 the queen gave up the plan, si- 
ncs an astrologer had informed here to beware of ¢. sermain, if 
she did not wish to be struck dead by a building. Since then ¢ 
the Tuileries belonged to the parish of S. Germain 1’ Auxerrois, 
the superstitions qusen dropped ths undertaking. that hed been 
executed by de 1’Orme is indicated by (8) on our little plan. 
(Fis. 35). This is the present middle pavilion with the adjoin- 
ing wings. On the contrary the corner pavilions (9) must indeed 
be attributed to J. Bullant. 


bet us now compare with this poor and badly corrected frasment 


the imposing plan, on which de 1’Ojme based his buildings (Pig. 
92). According to it the palace should form a rectandle of 816 


by 504 ft. The principal entrance lay at D on the eity Sides, ab- 


out where the triumphal arch now stands. From the great vestib- 
ule in three aisles one passed through a smaller inner one into 
the principal court A, enclosed by arcades on both sides. Four 
Smaller courts with two amphitheatres between them, in@esd int- 
snded for plays and festivals, separated the two middle trans-— 


verse wings from the two external galleries, where 6 is the pre- | 


Sent Rue de Rivoli and B lies next the river. From the garden 
Side the iomepapvistys & led into ths now esis: up aonaees a eae t 


way, that rose in two shiaees ade a incu vehe tiging) apartments 


wers distributed in the two long principal wings of the western 
garden side of the castern city side, betwsen which the four 
transverse wings formed 2 connection by galleries and arcades. 
Great pavilions at the corners, to which were added three oth- 
ers on the longer sides at well arranged distances and one at 
ach smaller side, were to give the building not merely an eff- 
Ctive altsrnation of the masses, but would give in the interior 
¢ desirable increase of space inside. 

Waen Viollet-le-Duc rejects the plan as impractical, because 
the internal distribution differs from that previously adopted 
in France, he appears to us in error. One should not forget) t 


atliy al 


that bere for the first time is concerned a palace in which roy- 


ality itself officially, as it were, desires to reside with its 
entire housshold and be represented, while the chateaus of Fran-4 


cis I bear a private character, and are intended more for the j 


personal inclinations addvthe intimate surroundings of the prise 


is’ 
ry, 


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fe Pitige Ieccivss yiieneon edt ddiw hos yevinge fas enocted 
eh neenp ef} dSéry etin .dosuetal Masoods edd hae e270 s 
matgO7 S47 toot bores ed; yam si .eaobledrebos ol¢eiian 
vewr0"! 3b yi en ov betste ylaectake ei cin? .Seihuds iten 
a6 s0elfaq e43.3a snob: ed o¢ yShOd aoee enc: waodt* -:tis 
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meeshorte Odd e1sH .oités eyice to mict ent oi yoote toot 'e.” 
bay cise Dimdtyds Bo aldtesiag emer edd. Eskoigmue een. 
sunegneellleg isdtel.odd to guders edd vov0 .yrote banorg st 


208 . 

The plan of the Tuileries presents in two sroups 4 number of ] 
larger and smaller apartments abundantly sufficing for a-large 
and splendid court, to which is added the beautifully arranged 
festal hall F. The rooms are further connected by sufficient an- 
terooms and stairs, and with the unsually rational Spirit of de 
L’Qrme and the thorough interest, with waith the queen had in 
artistic undertakings, it may be assumed that the programme was 
well Studied. This is ekpressly stated to us by de 1’Orme hims- 
eif:- “Thus one sees toddy to be done at the palace of her maj- 
esty the queen mother at Paris, who has desired to take the tr- 
oubls with a singular pleasure, of ordering the distribution of 
her said palace, for the lodgingsiand she location of the halls, 
anterooms, chambers, cabinets and Salleries, and to sive me the 
dimensions of the lengths and widths”. If we no longsr entirsly 
explain his plan, the blame for this is due to the insufficient 
traditions. | 

Tae same passage of his book giveu an account of the architec- | 
tural forms of the building. Evidently the queen required the 
utmost possible magnificence of execution and the architect sh- 
Ows that he was able to satisfy this demand (Pig. 93). He comm- 
Sneed with the garden facade. The middle pavilion was intended 
for the entrances and was connected with the two side paviliong 
of twice the width by open arcades, 13 arches at each side. On 
ths plan given by du Cerceau they consist of arched porticos on 
piers with projecting columns. put the elevation of the facade 
given by du Cerceau exhibits a variation, necessary for a more 
animated and more rhythmic subdivision. Namely there alternate | 
a pair of columns with e pair of pilasters, and since the entab-— f 
laturs with the cornice projects also above the columns, there 
Pesults already from this well weighed effect of alternation. 
‘The arcades terminate a flat terraca in the upper Story, that 
was enclosed by a bold open balustrade. perhaps in view of the 
rural location and surroundings, the upper story is treated ag 
a roof story in the form of a high attic. Here the architect — 
has smplaged the same principls of rhythmic alternation is on 4 
the ground story. Over the arches of the latter is placed a 
window with curved cap, and then follows a lower wall panel 
with an angular cap, on which rest statues, and at the middle 
appears a shield of arms. The pavilions received a second story, | 


- 


; 


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)meqqn edd ni rude ua neues preuedin eé2°nl énsvies 
fo yove bas noi lived Sibe is ki view sevts vaosted Hh 
e¥TOse bavoue. ast: 
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gh .datdnsove betemiae sdf .aeekac ts Yo toomavom cians 


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v6! ‘docer™ eft es betasvii ed said ocidastctgacts tact of 
oa dt eel {iv Jo legato sit de beyoiqne, teri? pus 

ino: enced etaseqes to enagico. ait to. ettege sdt eet 

@ “en noviel e833 ad .tidise Yo eined chid vd eantb bedol 

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, nec ont 36 @coigeciiak .ghties Betiond dite beocleste? tha 
Baw fre hongiash op ike eee Gin Citemente syed? .nohin est te 
ao B Seieta? wisiectem anit sit 

ae euort ost fo. sodad’ tuo yiqbeb edt ot | 

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as » baE pesoned wh yO cevit oelwetil et meen janoo en] 
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2 # encteeiig inte HONS. Cts Saidiins yd sone 


as 


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P .betbhlind Bibbin ed Be gebie dtod de exchaly 
Bots titerisoe= e Sts anckriw ow? edd yrode 
, teen doidy so sida belawors pommoo 2 wa 
iLivag efbbin oud: WEte nettosanoo nt: text 
e: Givenvoteass eoeldoas sotei ost toatto 


oF 


eh to! etnscoesitots adden ext, te oki £ OY 


yen neneiq els of, anihupice beteloroo reed ebaleg eit fh 
mtgrod baer sgehsesy nf $2 attr asegace Pinew nresec¢ feyor 
poeanae Ote0 Fa Sreliag- word? si ot hobKe exoiliveg eat 
bia : 


ooh b nelg bE tokhlind sIbEia edd wollot authlind etewatts£ 


we 


“yibad cz Hesoehte ous epipedt£) yout Cifides itoantaeas bee ny 


} ettcn ed fo ddésew add to sacmeginl, 2 tad? ,espando sot 
f (hesinbooss ef iinsm ce ¥ln0 .olditexoc qeanedL o@ et gael. 
mes EeCinonied # TOF tvotia ad dootidorsa snopillotat' an 


209 
columns in the ground story and pilasters in the upper one, yet 
da Cerceau gives only the middle pavilion, and evey of that only 
the ground story. 

To the noble and srand proportions, the finely conceived rhy- 
thmic movement of the masses, the animated accenting, de 1?Orme 
adds in the details a refinement in treatment, by which he shows 
hinselfiva master of elegant decoration. In the pilaster and co- 
umnar orders of the Sround story he employs ths Ionic Style, but 
in thatctransformation that he invented as the “Prench order” 
and first employed at the chapel of Villers Gotarets. He compo- 


Sés the shafts of his columns of separate blocks, connecting the — 


fluted drums by high bands of marble. On the latter he places 
Symbolic ornaments, laurel leaves and clubs as emblems of stre- 
ngth interlaced with knotted eofds, indications of the condition 
of the widow. These ornaments are tastefully designed and wrou- 
ght in delicate relief in the fine material, forming a well ar- 
ranged contrast to the deeply cut flutes of the drums of the c 
columns. Similar richness of decoration is even entanced by fis- 
ure sculptures and prevails on the upper story. Below the embi- 
Sms ars noted ths frequently occurring initials of Henry and of 
his queen. 

The court facade is likewise Siven by du Cerceau and exhibits 
&@ similar arrangement and treatment, that is only simplified in 
the ground story by omitting the arcades,and pilasters are ex- 
Clusively employed. An original afrangement is noted on the fir- 
St pair of windows at both sides of the middle building. Here 
in the upfpsr story the two windows are exceptionaily- brought 
close together by @ common crowning gable on which rest statues; 
an arrangemsnt that in connection with the middle pavilion must 
have a splendid effect. The later tactless transformations ‘have 
left scarcely a shadow of the noble architectures of de 1?0Orm os 
Had the palace been completed according to his plans, no other. 
royal chateau could compete with it in grandeur and beauty. 

Toe pavilions added to it by J. Bullant at both wings of de 
1’Orme’s building follow the middle building in plan, division 
and treatment. still they likewise are affected so badly by la- 
ter changes, that a judgemsnt of the worth of the works of Bul- 
lant is no longer possible. Only so much is recognized, that as 


an intelligent architect he strove for a harmonious seneral effect, 


4 


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goal exons be ‘eeopbun | ads sort: bovoass mk asm hoe: 
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syseliag etveod end bos soivel int 
Ihe 66 to neetedd .CY 
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tao. To ehnsd end ovat eaan ehsaniette seat  naetero 2 
ius misexabtence eae cofioesth ted Seban boa \folbet 
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ieee HO COnnsoniV sen vival motl eelia spose seil sca .e 
Sb yd bednal? <Btsnpe & vised Berge? (26 .82¢) seetedo vst 
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| wk Rei tkow Re YIote howowk Sit ni. exeitg so szositsoy ebsows 
| weonsténe ety de bettine naw ncizosnnco eid? .eo 
tac epereligea pithin & begasis sew vobsous eis to 
ye etod depoo edd tx0k stolséacg. yarete: baltecgmt ox: 
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vt *s 


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ts boeuse iupions engi: ani seoinzor botnwoxo eds dtivn org 
aM Wu pBshbs eg. ot nied a 


210 . 
and was far removed from the rudeness of those, who later by the 
erection of the colossal order at the corners on the river side 
SO pefceptibly injured the original architecture of both the f 
fuileriss and the Louvre gallery. 

70. Ghateau of S. Maur. 

Hhen we close the series of the works of de 1’Orme with S. # 
Maur, we must remember that we have to do with a creation of 
his youthful years. Shortly before before the death of Francis 
I be bagan for his patron, cardinal du Bellay, the erection of 
& chateau, that afterwards came into the hands of catherine de 
Medici, and under her direction was considerably colnet Noth- 
ing more of the building exists today. . 

S. Maur lies some miles from Paris near Vincennes on the Marne, 
The chateau (Fig. 94) formed nearly a square, flanked by great 
pavilions abitheecorners, that were connected at three Sides by 
arcade porticos on piers in the ground story as well as in both 
Stories. This connection was omitted at the entrance Side, and. 
instead of the arcades was arranged a middle pavilion, that con- 
tained the imposing gateway portico. Next the court this opened 
by an arcade thaS ended in a stairway at each side. Lower port- 
icos on piers with horizontal entablaturs extended around the 

other three sides of the court and supported a terrace at the 
next story, which served to connect the rooms. In the middle of 
cach of the three wings was placed a main steirway with straight 
flight. Bach of the four masses of the building thereby formed | 

composed of great halls and several spacious chambers with 

Sas necessary side rooms in a teuly distinguished manner. Next 
the front side lay an extensive outer court, enclosed on four 
Sides by servants’ ducllings. At the left side the principal 
building extended beside the river a fruit garden: bub a6 the 
rear adjoined a vast garden consisting of 24 differently ornan- 
ented beds. As we learn from du Cerceau, the-cardinal had only ‘ 
completed one wing of the buildings; but the queen ordered the 
buiidins to be continued and to be enlarged, and de 1’Orme had 
made e model of the whole. At first the court facades showed o. 
only one story, animated by coupled Corinthian pilasters with 
columns of the same order in the angles; above them a plain at- 
tic with the crowning cornice. The queen later caused a second 
stor to be added. 


vy 


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We .moisasivess oi hotosexe e1sn esdesxs sbheoiws edt es Len 
lenel edd gi exencoo odd doidw yd enmnloo nabdtnincd edi. ne 
| @ .dneaisor eidt-tqgoha deus ,bodessd ylibo sedtex eusn y 
@ ybeeile ef. snditeoitest ddie shan eon eqs0 yeomiso aa 
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vad gino besbhakt sw ebil cacdn” Baa .eoeling .b i6 gad 
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211 


This architecture bore the stamp of a severely classical simpli- 


city, and thus the exterion assumed the character of severity, 
and even of dryness. All angles and enclosures of windows, as 
well as the arcade arches were executed in rustication, and ev— 


So the Corinthian columns by which the corners in the lower sto- 


ty were rather oddly treated, must adopt this treatment. Even. 
the chimney caps were made with rustication. We already recall 
in regard to this, that then the architects believed that the 
rural character was expressed by this style of architecture. 
Richer forms, though in a sportive Barocco manner, occurred on. 


the dormer windows of the roof. But the principal piece was the _ 


wids and high antique temple pediment with fisure ornament, but 
at the same time opened by two arched windows, that Spanned the 
entire arcade of the middle building, an innovation that must 
be credited to the still fresh inspiration obtained in Italy 
from antiqus appsarances. Du Cerceau says:-“Hor which is placed 
a frontispiece, that is indeed an order of antioue manner, and 
striking to us, who have never made so sreat a one in France.” 
We find it today indeed unsuitable and ugly, so much the more, 


i 


Since it forms a contradiction to the steep roofs of the pavil- 


ions. --- De 1’Orme had treated each corner with tzo separate 
roofs like twin pavilions. 

However the artist is not Less important in this youthful 
work, yest the creations of his riper years have shown him to 
us in full mastery. 

71i< d. Bullant. 

An appearance in ied recalling that of de l’Orme is 
that of J. Bullant, and whose lige we indeed only have slight 
knowledge. His birthplace seems to have been Bcouen, that he 
was destined to adorn by the principal work of his artistic ac-— 
tivity. Likewise for him must we assume that his pirth fell at 
about 1515. Like de 1’Orme he was in his youth in Italy, to st- 
udy there the works of the old and new masters. In his book on 
architectures he states for himsslf, that he made after the ant— 


igue the drawings given therein. Among them is found a splendid © 


Corinthian capital of the so-called temple of Jupiter Stator ( 


(temple of the Dioscures in the forum), that he accurately imi- i 
tated in the great portico of the count at Scouen. A proof that © 
ths erection of the chateau occurred after his Italian journey. 


hab add aie > ott nah a ‘edt | Sadvtiinces’ 63 veo Ho im. 
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prea (PR e800 So eexesh o yd otis ents ent fo sovet edt A 
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fe Benca eyee od ee hne estes: fi ee ,cofecianen ves2 
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mee sdaemycigqos gvostin ylteon need evad sgintedio bigon 
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; easel eb ki .extor yaerotil bos seotceriz ‘eeval 
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satin uIdemses, co eeidaest eigvid’ ei Serzeaqge gt 
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@ eaiboce oltizaciog. te Do0tg ovis, egcitian erent, .e¢ 
Wee Lecisetonteds. doitn .gaceds ot nciteation! doses 
petedd wt otemoh eins nbitcon Laqgionisg 
civ a Joidsiunco sdt eo. noe edt ot befectieh peer 
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fe reietee Ofc de8).boiniast oktitanion Larecey ni sehastai 
(Past enous etodnyteve: Menwid.gezeeugxo taaiioSwisicn: 
ben soitteog eid yilesanen .ytiney Yas. sort bovonsy aa), 
laid ab sepuO*l of a Sew tavern on bag! ant trebow 


ag 


212 é 

It may be conjectared that his patron, the constable de Mont— 
morsncy, to whom belonged Ecouen, early noticed his talent and 
sent him to Italy. It is certain thet while the constable lived 
in Hcouen during the time of his disfavor from 1541 to 1547, ¢ 
camé to the decision to rebuild the old castle and canse a-new 
Chateau to be erected by Bullant. That this sreat undertakins 
established the fame of the architect, and since with the -acces- 
Sion of Henry II, Montmorency again attained power, and soon ¢ 
the favor of the king, who by a decree of Oct. 25, 1557, appoin- 
ted Bullant inspector general of all buildings of the crown. I 
Immediately after the death of Henry II, like ds.1?Orme Ke fel] 
into disfavor, and must sive place to a ersature of catherine 
by the name of F. Gannat. Prom 1559 to 1570 he remained without 
farther commission, as it appears and as he says himself, the 
constabis employed him in the srection of his chateau, since he 
would otherwise have been mostly without ecployment. He took up 
his residence in quiet Hcouen and busied himself with theoreti- 
cal investigations and literary works, like de 1’Orme. . 

The first work that is due to this leisure appeared under the 
bitls:- “Collection of Rorology, containing the description, 
making and use of sundd@als. Paris. 1561. He calls himself in ¢ 
this the architect of the constable de Montmorency, to-whose 
name he dedicated it and the succeeding volume. In the next year 
of 1562 appeared his “Little Treatise on geometry”, with which 
the sarlier work was bound as a whole. Purnished with numerous 
woodcuts, these writings give proof of scientific studies and 
an earnest inclination to theory, which characterized him like 
de l’Orme. But his principal work in this domain is that publish— 
ed in 1564, dedicated to the son of the constable, revised in 
1568 and frequently again later; “Gansral rules of architecture, — 
of the five styles of columns, i,a., Tuscan, Doric, Ionic, Cor- : 
inthian and Composite, after the example of antiquity and accor— — 
ding to the rules and theory of Vitruvius”. “a 

These works are indsed neither so comprehensive nor of indep-— » 
endent importance like those of de 1’0rme, to whom he was also 
inferior in general scientific training. But the modesty with 
which Bullant expresses.himself everywhere shows, that he was 
far removed from any vanity. censrally his position was a more 
modest one, and he never was like de 1’Orme, an abbot, canon, 


Es ow 


4 
: et ey eee 0 a | ee ee ee 


! il a ‘ 1 
or ‘bets eund ino: bearsel ost ewencels Bue s0llkennos Leyes 
f eyes tisentd ed hee ,deeklo8 ak cetm ex lrediel ear at 


Sala yosentns! bre de¢tol edt nt tine? cece Set cox 
nei bise elit Yo noltagnemento Hed bow’ wsoncbur oft sagore 
Piesstossidose etd ot S04 tetotted. s ten ne Tp eapsoed 
“go: tLewmid negooxe ad Sed uso 32 Teoluetoom for slants 
Mensetl Io sicod sit Snedetqeon of yiif{tde Ilene*etd & 
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fe Sean Jou. cb Sse sdt at Bs efiigs noe BO? .cemiton oss A02” 


ie suotize dstw weib of nod wedoned od doldw tod) (rameloo: Yo 
@ eid geds oe wesigtoning tne seloutot ss belie yc yoas 
Beg tol oolis onlev sidewshiamos fo sbedceved enum Jost ni 
t tect ni sodel deonise den yelomexe cide mov? aca cate oF 
Pio ybote dgno71tdt. edt ot nevin oven denn toottsors yen 
Deus 20 .uncktsoge7q To noisagtiaevar ads 22 visalooie 
petemes. B To. noteerip oft Loin ssiset eat eseseler on eae 
ebaray MSa70 Qnoms htee af 
ae Soeswy ya. oi weiv ok oaived ‘ene oes 
iret yacusrssces beowG Ic asonleg [gtttoegad woah 
U. eeastdolydes eac Of Ife te Hhlely ton ceck 31f.. 


act 


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oe ie 


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4 


te sesaneyo Bae saiaeddad yd-toctidovs ‘hos neloga saw ef 
o Sotietas Oc (Seid Jaut bed. smi0s leh conte fae (sachs 
Pmesnp ent eoate seiiest .iceesooses. Bid se sefaeiis? 


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i, dense aretg oad YI Dydosiague sstal sew fT) .ancauto’ eb 
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ease Q0g3 ct Heid: oslevokbodtamtsS sontel .tk te amnloo na 
moO Sit to aosiq ni Betntwaqe acct een od .emeCS! 25 ae 
D vino Son fose sa fine aprep hed Feyot ent Yo as06t0Ve 
se noldoeys edd cele Sod <wee Jadoo? tc edaow edd he 
Ptartnce sit ai besengigeh eb sh Vetoes Le nt. edned Levon 
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x | -heasgae 
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nt I 
brine teem od .gotdtdwieqee mort poeleg edd. to nolsoete 


tig ay ehh anata oo OG Séenso neost ead dota. | 


ro 


213 
royal councillor and almoner. The learned culture that we find 
in the latter, we miss in Bulaant, and he himself says in the 
dedication of his book on geometry; “Yonsignor, I bes that if | 
you find some fault in the letter and language, that wou. will . 
cxcuss the rudeness and bad ornamentation of the said language, 
because 7 am not a Latinist”. And in his architecture, “however 
Simple and mechanical it may be”, he excuses himself on account 
of his“small ability to comprehend the books of Vitruvéus®.Bul- 
lant also restricts himself ~-- since heconly xrote his book | 
“for the workmen, for men skilled in the art do not need my wri- 
tings”, --- and in the representation of the different orders 
of columns, but which he teaches how to draw with extreme accu- 
racy by geometrical formulas anf principles, so that his book 
in fact must havcobedn of considerable value then for practice. 
We also sse fron this example, what sarnest labor in that time 
every architect must have given to the thorough study of his art, | 
particularly in the investigation of proportions. On the last : 
page he releases the reader with the question of a sonnet, in | 
which is. said amons other things: - : 5 
“So one having in view in my France | 
Many beautiful palaces of proud appearance, 
{It does not yield at all to the Babylonians”. 

#ith the year 1570 ceased the royal disfavor to Bullant elso. 
He was appiented architect by Catherine and overseer of her bu—- 
ildings, and sines de 1’Orms had just disd, he entered on the 
Tuileries as his successor. Besides since the queen stopped the 
erection of the palace from superstition, he must build for her 
@ new city chateau, the palace of the queen later called mansion 
de Soissons. It was later sapplanted by ths grain market hall, A 
in the masonry of which is still preserved a colossal Copinthi- ~~ 


a 


ine Oe ee 


arn column of it. Since Primaticcio also died in the same year f 
as de 1’Orms, he was then appointed in place of the former as p 
overseer of the royal buildings, and as such not only conduct- | 
ed the works of Fontainebleau, but also the erection of the } 
royal tombs in S. Benis. He is designated in the accounts as 

7 


*ordainer of the said sepulchre”. Likewise on chateau S. Maur, 
which the jussn caused to be considerably enlarged, we find hin 
engased, 

Bullant being ill and weak in Scouen made his will in Oct. 1578, 


eal det ok -fidtnom omse ons to fs OF odt go enedd Belh aa 
fetiase cincm s fevanqed fad sooeed .9. .newblido enin sdiv 
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r enswood to wasted 8h 
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seed Igbue? edt seth ‘ea0¢ yonotomi ne 
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me adaiblind isyou gacottingem vaca .sdt atin steamon oF dort 
hg Oy Pasiled ai fowok of .mkizoh to pomeo TT inden Soe tueboes3 
rs stI Zo enotesetgmi six to (Int litte saw oon .seteax futile 
pio tezk? oft ex bencdoes od seum dadd (anon 2 Beseeno: bae 
bidoloved sstrte emtote edd desords bevan yistennine® .euid 
Seaeizse ylouvitait gacals 12% 
wut3 esi diiw Istaoq oten of 
'@ evae ot vlesen ,2Okese209 
5. ons eved I nesLogsl enetijasie 
pe tdbesb. edd 10% Ssatitesi gataies a to seog2ng edd sot ms 
faos204i teitd & ponte bas ,sonod to 


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tans ed. bedoalt sex es Jeotwk us enoiliveag ssid sootiorg 


° ceimen deaf oft .eefgas setnc edt ni -etenot «tede Banos 

co tas: bes gi/el ,faork ,eehie send? 26 iwotesh Levoniten Yo 
2) ated vaew® 2 oi ebie: ddikis cd? Ss skniblind edt Ansowrse 

oa ib-avson odt ebleni esontxet se! 


‘ead banowtine yitoos 
ory # steetot bas steq ,anebueb edd revo weiv s bretts hae 
jabie ond fe S1G955 tidova: egoin node Hig effew yd Basolor 
bed’ Saidosetetat ; ébaoat aiem. edt to shin ¢rort any 
ot Bbne gute ss00LT785 wien edt ct deomfa s£om Bae 
foctorg aie dolde ,esonetiae fattisacd of eené 
aco egnin aet sdt 10 .woktteoisens nt Soin: 
tnage wueiies anol s yfuo paistaoo. teo7) 24 
bobivis ess poain obie ond ent *mohgoIs teig YW gauoo ‘odd 
eaten ce eibbim sit ts Sad foes bee .tifed bus sacot epiel 
piensco. ‘sH0%. est at ell, estesea: seilené Aisin tdgiaute ad iu 


. 
oe 


Pree ek Wad ih os Vat MOR Ren 


a14 
and died there on the 10 th of the Same month. He left a wife 
with nine children. P. Lescot had departed a month earlier,and 
thus there remained of the Sreat masters, that had carried the 
Renaissance movement to its completion in France, only du Cerc- 
eau, and he also soon ended his life on foreign pe. | 
7 Se Chateau of Scouen. 
Gcouen lies 22.5 miles northerly of Paris in &@ valley enclosed 
by hilis and surrounded by magnificent groups of trees. When + 
the constable de Yontmorency tore down the feudal castli and c 
caused a new chateau to be erected, it evidently was his inten- _ 
tion to compete with the most magnificent royal buildings in ; 
srandeur and magnifiesnce of design. He found in Bullant the 
Skilful master, who was still full of the impressions of Italy 
and created a work, that must be reckoned as the first of his 
time. Fortunately saved through the storms oftthe Revolution un 
Gil our days, it belongs to the few almost intirely existing c . 
chateaus of that spoch. Only the main portal with its triumphal ‘ 
arch was torn down by a later possessor, merely to save a few 
thousand francs for its restoration. Napoleon I gave the chate-— ; 
au for the purpose of a training institute for the daughters of | 
members of the legion of honor, and after a brief interruption , 
it still serves for that use. 
fhe chateau forms a great rectangle, that is grouped around 
a nearly square court of 70 by 60 ft. (Pig, 95). At the corners 
project high pavilions as great enclousres flanked by little 
round stair towers in the outer angles, the last reminiscences 
of msdiasval design. On three sides, front, left and réar, moats 
surround the building. at the right side is a great terrace. 
Smaller terraces inside the moats directly surround the bnilding 
and afford a view over the gardens, park and forest. A garden 
enclosed by walls that show niche architecture at two sides ad— 
boins the front side of the main facad&é; intersecting the terra— 
ces and moat almost to the main entrance. Before and to the rear 
iead drawbridges to fortified entrances, which are protected by 
iow towers executed in rustication. Of the four wings composing 
the building, the front contains only a long gallery opening to 
the court by pier arcades. The two side wings are divided in 1 
large rooms and halls, and each has at the middle anmain stairs 
with straight flight. Smaller stairs lis in the four corners. 


RES Sage, Cee: 


= n'y fi i ve Oy i 


as erg 
lege gcivil tec ecisse S ofak bebhivif al hein teen got 
ia dess <anoitiiveg edt? TO .d2 Sf yd $8 sowesem techoel edt 
Gein ,fegedo oad entetnge ebhie snort edt to aenico sis! 
padin Sopuewts ¢24 etzodts sexi ed? .ytetsoee base atisie 
b baw yleasio yrov ef aeiq edT.@ecor tetvil tellams fas 
eldsting ei encom edd, Iajaétdodnaoo att phenes 196 vi 
y PROT ot eA .Ratsta SHOUT HO Gist ‘wd eldilesooos tees 
a, Yo sedana 2 nisddo ot nedat ssed Bi ees sais odd %o 
(Petosnace ovd to Qatteterco dusel te .2dasetcnqs dneb 
eeQnoIine owe esd ships Dna 
s tesecte ead tetiue es? astoetado Lstatsoetidowsn edt a0 
a 860 tod ,cintoeticois donned “sifrss edd Yo siuheatel 
Be tens§ sit to emzct odd bas: yttesmye to wel edd od mend 
einal atodd bas ateovist eles. baci eliiif est .(6@ »2it) 
os ¥o eXatanors Iatnomani0 ties? dtu econ goods os? 
eiig yO sotaivibdss oucyor edd atin agen. yaomtao dy 
eofons siedt idiw anewacb edt yissicotirsg tad pedove 
*Bnoied, .noléibis sesi so stem & vd besnoso hie taalia 
eo encisaciages 243 onihiiad edt Kes) edaeg tastesitbh ede 
“aha eae SURI ont OO :cdguodseqel hood. stin. yaev.. enemiob 
f nso 7htie Syiicege. # ved yoos Suinw tecwt sss to yx 
ie at, tasty @a% Seve ehosdxe geod ,Bain ehie gabid.edt: no’: 
ea yd Segncso #fesel se eiif siutonise sibbin s 
$ bss solaesdani iasieselo atce « bentaido ei tgentibesg 
B tec Bocidiveg ssid edd 20 .egso bevaro algaia yd bersyo 
ean, ~eeoeete asin eedoin elitifl evad yext sebsoet anes 
ead edit slob iO adt ak taenibeg es avin: ,esedeatio ve 
gedo exs oi elyte olsted edd hentstor viesi¢ne taal ied 
ff omit ered ebsibiind esofeties got seve saof weeoté Te 
en Sledn eds 50 semict Lenoltibert est. o¢ yinet? baiedhs 
Gry sit ci toellyS teddt .eoionebhacd seedt Ile mest exin 
lege wen bas bio $di seeuded nokiteadg. 6 eetgnooo aAvow aid te 
@aegeczs Spoddin acuecbs (Sens) owo sin ck ama0*l of cliae 
Milives senico feck shd edcetes ,yonohnet Leoteesio ext 
pets: _(Btoos $a yd sev eladaosiatod edt 2o ysieu edt etese 
hekadete Rigo bus elyde Teoteselo yleravee ni [sqado. edd 
ot polstqeonos isvesifom Sty oF solesaonoo 6 to wobiieey 
Te gettaes goth fod etine lind gids Ifs neve: ich .boetaro 
ann to dtsend s sail aD ath cue base abla iaapgen 


ie ed -notine 


a ie 


hy 


ins 


Va See alas: yeh van ih ys ae vee Bi he my, eae ow) Si oY 
3 ; uy ria | 


215 7 
The rear wind is divided into a series of living rooms, of which 
the largest measures 24 by 18 ft. Of the pavilions, that at the 
Left corner of the front side contains the chapel, with its own 
Stairs and sacristy. The three others are arranged with larger 4 
and smaller living rooms. The plan is very clearly and distinct- 
ly expressed; the connbebioavof the rooms is suitable and very i 
sasily accessible by the numerous stairs. As in most chateaus 
of the time, care is here taken to obtain a number of indepen- 
dent apartments, at least consisting of two connected ‘chanbers 
and having its own entrance. 

For the architectural character the artist has ndicpited many 
slements of the earlier French architecture, but Has subjected 
them to the law of symmetry and the forms of the Renaissance. 
(Fig. 96). The little round angle turrets and their lanterns, 
the steep roofs with their ornamental crownings of lead, the 
high chimney caps with the severe subdivision by pilasters and 

arches, bat particularly the dormers with their enclosure by 
pilasters, crowned by a more or less addition, belong sere. On 
the different parts of the building the terminations of these 4 
dormers vary with good forethought; on the light one story sal- ‘ 
lsry of the front wins they have a sportive eahdcorkamental forn, y. 
he right sids wing, that extends over the sreat terrace and | 

a middle structure like a logsia crowned by an antique a 
pediment is obtained a more classical impression, and they are 
covered by simple curved caps. On the hish pavilions and the 
court facades they have little niches with statues, ars enclosed 
by pilasters, with a pediment in the middle like tha antique. 
Bullant entirely retained the Gothic style in the chapel, a pr- 
cof ofchow long even for relisions buildings this time‘still a 
adhered firmly to the traditional forms. On the whole we recog- | 
nize from all these tendencies, that Bullant in the first fruits 
of his work occupiss a position betwsen the old and new epochs, _ 
while de 1’Orme in his own (Anet) adheres without exception to B 
the classical tendency, rejects the great corner pavilidas, ac- 
cents the unity of the horizontals iven by the roofs, erects 
the chapel in severely classical style and only permits 2 few 
vestiges of a concession to the mediasval conception to be rec- 
ognized. But even all this Bullant’s building acquires 2 nore 


natural expression, and affects us. like a breath of warmer inv- 
z 


ention. — ee pa ot 


el ‘7 


Sait ‘no s tee: 


~ 


ate ial ce! 
_- hy ae 5 


“yet 


a 


mer 


he 5 


a“ 


geu7 ih. 


7 i 
te Wh i 


( ak 


¥ ee’ ”Y [ Bath iN shah es Bie Ate: Oye 1 We f rr " Ny i ’ my | ‘ alte i Sr . 
‘ g 1 ‘ , Cried Pel 
i ? 


216 
The ctassical world of form has reserved itself for the prin- q 
cipal parts of his composition, and one must confess that he has 
handled it with artistic consciousness and with firesdom. Most 
beautiful doubtless on the magnificent triumphal arch of the 
main entrance, whose motive de 1’Orme adopted in Anct, and ind- 
ced by its transfer to the end of the court has Biven it an en- : 
tirely novel effect. He built this triumphal arch in three sto- 
ries as a strongly projecting porch, with Doric columns in the 
Sround story, above with Ionic, and in the last is decorated by 
telamon-hermes, and adorned by niches in the narrow side panels. 
The portal opens widely with a straight lintel: above in the p 
brincipal story is a loggia with large arched opening, finally 
in the upper story was the equestrian statue of the constable. : 
Besides the arches crouching fisures of sphynxes rest on the 7 
attic. The sntire composition is without question one of the 4 
most spirited uses and changes of the antique notivs, that we a 
possess from that time. The cylindrical roof has also been pla- 
ced by the artist on the gallery nf the front wins. | a 
While then on the exterior as on the interior the facades are 
throughout divided only by plain systems of Doric pilasters, t 
the architect has wisely restricted himself on this to the axial 
lines, particularly making the three court facades more splend- 
id. Simplest still is the wide gateway lying opposite the main 
Satrance as a tramphal archway with one opening, enclosed By p 
projecting Doric columns and the rich sntablature of the same .. 
order. Capitals and archivolts are finely divided, shields gar- 
landed with laurel alternate in the metopes with trophies, in 
ths spandrels of the arches are scaring Victories with laurel 
branches. Likewise the arched passags is richly coffered. More 
ly is developed the middle ‘of the right wing. It occurs h , 
boldly to emphasize two portals separated oy broad wall E 
surfaces, Bullant had taken the upper story with the sreat win- 
dows into his composition, placed statues in the intermediate 
wall and flanked the whole by coupled columns, between which s 
still remained space for smaller niches. The lower order is Dor- 
ic, the upper Corinthian, the entire composition having a noble 
effect in its sivere classicism; only a fanlt that beneath the 
windows the Doric entablature is cut throush to make space for 
tablets with emblems. Phe attic is adorned by crescents wound 


‘ 


ae i Te wet ‘Warr = } 


bbhin att: seg. pete yaa 
af teen! se 


*A 


yds 


ak 
eve: peveseo 


de trace se 


) ‘ Leal th ed as ay Be ee aR) Me eA eS 
Pea MEM RMN NA eC O o i Ft i | 
Wee Dita mast iG oC 601 0 

le ie ae as 


ene 

With laurel and forms the termination. 

But still more grandly is treated the oppositsé middle of the 
Left wing, Here the artist placed perhaps sarliesbiinéPrance ¢ 
&colossal order of columns extending through two stoties, whose 
ARSE ences details are imitated from the temple of the Dioscu- 
¢ forum, Between the middle columns open two entrances 

; talrway and the adjacent halls, above ths ground story 
being two little, and in the upper story two large windows: in 
the two side intercolumniations are arranged niches, in which 
tas constable had caused to be placed the two captives by $ich- 
elangelo, that were originally made for the tomb of Julius IZ, 
and later passed into ths museum of the Louvre. The architect- | 
urs of this prominent portion shows the greatest richness in all 
members, even to the window mouldings, cornices and enclosures. 
The decoration of the architraves is faithfully imitated from 
the temple of the Dioscures, on the frieze are seen trophies * 
with laurel branches and leurel garlands above crossed Swords; 
only on the crowning cornices was the architect comp@iiéd to 
reject the sreat consoles. 

Finally we still have to consider the logsia already briefly : 
mentioned, which projects at the right outer side for a free a 

oversisht of the great terrace,there. Likewise here the artist 
has freely employed an anti otive, that of the triumphal 
arch, and in both principal stories has opened a sreat archway 
-betwsen two lesser ones, and crowned the whole by an antique 
pediment. The enclosures below consist of fluted Doric pilasters — 
with entablature and high frieze, above of similarly fluted Ion- 
ic pilasters and an entablature on whose frieze are carved splen- 
did festoons of leaves. Bad that the architect has broken the | 
cornice at the middle in order to obtain space for his arches q 
and for two Victories, that fill the tympanum 6 the archivolt, 
It sufficiently results from our illustration, how freely Bull- 
ant suployed antique forms in the sense of his time, and how he 
has accepted an entirely French national building merely as a 
Splendid ornamentation. ee ae 

The entire equipment of the chateau breathed the same artist- — 
ic spirit and was of such perfection, that du Carceau even emph- 
asizes the rich pavements of the terraces and pat court, that 
wers obtained from Rouen, and says of the latter; “fhe court is i 


vot ‘0 ténken of haoste 2 dadt: ‘Revag vidols 29 
Fas to gaineiota? doin eat 20 oiepan pebivecs wen 
@ Bes tee ol .Upaidmieg ¥¢ westeso ed? beaichs hed oe 


area ‘BIC aastaing netingy, Te/tprowtefeen yeveniissy adv 
ape to wacttigoggoo #a3. ratte Betaled seslp .eifon 
Dp act saw eoneolt iat am jalooloreg BtiW sewebnin act 
 bisini yiteos te boilens 7 6 Sax ellen edd. om). beg 
so fad Pevise yictiicad bedidinxes yesorls veivel lex 
se eb Yo RooseT? yd horsvoo eten.atInsy beddis olgtod 
2 tego eed 2° yd sefit beset Ye Reteltenco 3as0lt ed¢ 


} 4x 
oth 


ant ne 5 - i ; 
i ; dones? te cuceca edt ot Becels cow ‘acitoloved. ond 


Bain to wshdedo oft ot bedietecesd sstel van Bee 

het beagiesh yliokste ci sew elyte oldiod oft os feeg 
trad yo dovin at tf 29.8 oidgipeesige: e (tiatge en 
aertY noisod. .G yd hetneranio eee aldot sndle sd? So 
Lak evoda .ais roe Aa ed¢ beak eentsty isnthveo ex3 
£ 0, wpetiatoge eis seiingasiqs4. Asites ‘agthi tasoitiq 
BW tenrie alta: Hidgam tqehelo ont gd oble doeo\ad Lode 


F sid} all 


wie 


wit eis eee 
¢ ¢ ‘ae ‘ ( é 
| a ee Sh Reeayt . sSonent 


Ye ; ey 
‘aoe i 
’ i) a wn : 


a 
% > 


iyi Ns ita 3 7a a be i 
? Li . Ws. he vs, : i. 7 . 4 { 4 , at 
My oa a Ree. 1% TE . 
“pce (2) 0? eee ee 7 py Roe 4 eee 2 
at " Sek! ) 7 en, ye 4 
ty, -j 1 + a? ‘ - 
¥ ’ 


er ee A le a Pp ee el hae eee yy See eee 
‘ a a he mi ‘a io 7 A 7 : od y ’ “he te bp i bly J ¥ MW \ hi ORR fi 
ee e Cr 2 : e 7a ~ 4 c Aes wey . , ot : of 


eat at boote seve eondete ongtialt seeipégivon dite 


is ods at ded? aatl & sai) dod diel ef patdden sidt Ife 20 


2g. Biad ouiwedis -eiyde omex) sds ni Bh MES ie 
Bia at apo tins ait movt aeigaiiqani eid fsacasqee 
m4 4 


12 ; pealitad ‘ , ( Le oe bs 1 itl Py <i ’ 
ie ay ig By, ‘ ey ee 2 AMS Me all! iad) aes 
Cy ete ay ST uke - Per Pe eer ah AT Mena 


ee 
. : ee 
i a eee Fe 
an oS aoe, =. 
hes = 


CT, SMC goo NY ee: 
' t . ‘ ij 


218 
So richly paved that a second to it cannot be found”. Scarcely 


any vestiges remain of the rich furnishing of the interior. Ros-_ 


so had adorned the chateau by paintings, J. Goujon and Poncio 
with sculptures. Antique statues even stood in the passases end 
the stairways, masterworks of Italian painters ornamented the 
halis, glass painted after the compositions of Raphael was in 
the windows. With particular magnificence was the chapel -equip- 
ped. On the walls was a paneling of costly inlaid woods, the 
galleries already exhibited beautifully carved belustrades, the 
Gothic ribbed vaults were covered by frescos of J. Cousin, and 
the floor consisted of glazed tiles by the best French masters. 
Of all this nothing is left but the altar, that in the time of 
the Revolution was placed in the museum of French monuments, a 
and was later transferred to the chateau of chantilly. In cont- 
fase to the Gothic style was it stkictly designed in the antiq- 
ue spirit, a representation of it is given by Baltard. The side 
of the altar table was ornamented by J. Goujon with reliefs of 
the cardinal virtues and the evangelists, above it rises a nas- 


nificent framed relief representing the sacrifice of Isaac, fl- 


anked af each side by two elegant marble Doric columns #ith an 
entablature in the same style. Likewise here Buliant has also 
expresssd his inspiration from the antique in a separate piece 
of masnificence. ) ; 


> Fa : 


at bettors egos 
»f' eifdstee ge bone? 


st 


s teascne tear? 


pbiq 8 ot yban? 
‘Beoncazos « in 
te ates 


Gr oe ee gs ay 


 eBrocats 
shea add 
« » ebsodre 


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ad 


ead! ts 


pues oh per 


met 


av 


. Bit ya ¢: 
fis: yifotiqnte e dns 


Pre: 
Ww E54 a ot, 


"NFA 


tree wd noisivibdss sis! 


Ae a Be aw Ge 


ahegehaa as rtiie 
ae a 


: 


2 & Ab ie oh on 
ws 


~ 
Dee Mug 


219 
Chapter VII. Renaissance under the last Valois. 
B. The remaining secular buildings. 
73. Chateau of Ancy-le-Franc. 

Of the series of important private buildings, whose architects 
are unknown, but which adhere to the basal tendencies establish- 
ed by the fashionable architects of the time, we first emphasize 
the chateau of Ancy-le-Franc. It lies in old Burgundy in a plea- 
Sant plain bordered at one side by hills, and #t #&s commenced 
about 1545 by count Antéine de Clermont, forester general of 
France, apparently after plans by Primaticcio. The building is 
one of those best preserved of the time, and exhibits the regu- 
lar arrangement of four wings surrounding a square court and 
angles flanked by four projecting pavilions. A broad moat 
recelves its water from a little river Armancon and surrounds 
the building on all sides, The plan (fis. 97) presents the mod- 
el of a clear and regular arrangement. Around the moat extends 
@ nish terrace, that affords a fres visw on all sides. Over a 
drawbridse one passed to the principal entrance A and at the 
rear to the gate N, that forms the connection with the extessi- 
ve gardens. A wide hall D corresponds to a similar one in the 
upper story and then leads at both sides into the court, which 

S a squars of 34 ft. In the angles are placed four winding 
Stairs, and in the distribution of the rooms it occrrs that fre- 
guéntly smaller chambers ars placed in two stories over each o 
other. The living apartments however lie in the upper story. Ff / 

hey consist of a number of larger halls and rooms, particularly | 
r the room 0 lies an important hall 62 ft. longs by 26 ft. w J 
wide; in the pavilion L is the chapel, in the wing adjoining it 
left is a magnificent sallery, that occupies the entire 

% 


¥ 
fede 
er 
Co tt 


is a more solidly built chateau enclosing dark rooms”. But he 
continuss, “quite the contrary is known; ndthing is wanting re- 
quired to serve for a building, whether heisht of stories, emb— 
rasures for the windows, of in beauty of lighting. On my part 
I find this residence very charming and to ny liking”. 

The architecture of the chateau has great simplicity and clar— 
ity. The external facades exhibit a plain subdivision by a sys- 
tem of pilasters of the Doric style, alike in both stories as 


iB geo enci veg. 968 
eet syd tilige rg 
 visialg Bearcis stent0k 


m We del on Wo de 


“bilod edd Yo yiiasiluos 
(/ Sedwence freq ffs 
-efieveng oelsg osed 2< 
- ofed feidiaisod ata 2 

pobivib ete modi 
fabsode, aso0. GL anovais 


to beviees: 


_ Belwodit 
i 189 
py itavers f 
0085 eeens te. aelgne 
olden eit. ot pnefed 
doenevse? nk Beck ¢ 
hk Sqedo edd sien 
edt sdedetnge! 


) o at Ney 
‘ou Ag dedt aa. 
pabbuitin 2 enioli 


Wh abe be 


ei yooton 
Ka 


re ov & 


et & 


a EE wd 


re i: 


Bate be nesno ont bonots Beqnosy 


Ww es 
i 


| bebte aciivines gxdicugn yd hekdetebh wiliey 
Pes 


324 LOR 


a my ebhis owl £0 hevofone': ve halete) 


rm i 


220 

well as in the upper story of the pavilions carrisd higher. The 
stecp roofs, pyramidal on the pavilions and ending in lanterns, 
the hish chimney caps and the small dormers crowned plainly by 
antiaue gables, continue the national peculiarity of the build- 
ing. A bold cornice with consoles crowns all parts. Somewhat 
ticher are the court facades (Fis. 98), yet here also prevails. 
simplicity and clarity. coupled pilesters are Corinthian below 
and Gomposite above, the wall surfaces between them are divided 
by niches, and enclose the arches of the windows in both stori- 
es. The upper story is only somewhat depressed because the con- 
gols cornice is placed directly on the architrave. Otherwise 
the fluted pilasters exhibit a true artistic execution by.their 
finely wrought capitels, elegant profiles, the mouldings, part- 
icularly the consoles of the crowning cornice being decorated | 
by the acanthus. This entirely noble architectures can be termed 
@ Simplification of the magnificent court facades of the Louvre. 

Of high worth is the treatment of the interior, preserved in 
great part. Precious wood panelings on the walls and likewise 
paneled csilings with ornamental painted arabesques partly in 
gold, sive proof of the refined artistic feeling that prevails 
hers. Rouyer & Darcel sive in their work exemples of these deco- 
ovations, especially of the ceilings, that belons to the noblest © 
and most beautiful of their kind. Others are found in Sauvaseot. 
Particularly the so-called chamber of the cardinal, the chapel 
and the room of the “faithful shepherd”are distinsuished. The 
latter has its name from the paintings on its walls, that repr- 
ent scenes from that well known tale. The building with its 
aipment could scarcely have been completed later than.1569, 
which was the year of the death of its builder. 

74, Chateau Vallery. 

Still more severe and not sven free from monotony is the arch- A 
itectaral style in the chateau of Vallery located 22.5 miles f 
from Fontainebleau and almost as far from Sens. There stood here — 
an important castle from the middle ages, that marshal S. Andre 
caused to be torn down in part about the middle of the 16 th c¢ 
century and to be extended by a building. in the new style. To 
the old portions, that were grouped around two outer courts and | 
were enclosed by walls defended by numerous towers, he added a | 
Sreat rectangular court, enclosed on two sidés by the new buil- 


1 


ae & ‘ye botstonos =4ev sboin cecin ‘ttes antitiod 
ine Teosg won A ek mefiadg vide te Statoesidous off 
| é alds fant de sexetvebar exvge) e62 Yo Bndbitnd ead sand 
ad uaeivoteaeg ei sat ,oadsoetitiona yrerogmednco no Aecuoxs 
26 seed ¢nemtesct atedd nt Geis .ei%eq Laatetxe odd) to 
ona Savrod ait Yo sbhsosi e*soneed 63 ywaireligia, ef¢ 
j eves elier cit Yo aeguam sid Vids aagiqeord tevin 
a ai {fis wetztw. odd to ddadig isin edd shin ,edoiad 
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P ends dod si bedagexe ote ssoknies Sei, ee {lax va .ancd 
> bevane yd bsdeniuied cre yadda. banow eid of ewobakw: 
Finan teipbaes Saaved octi Lived od3 to yiode ssqqn eat of 
‘oss Seivedid) .eefoance no soritee: Blod 2. ddéiw snifne eek 
B atedd te setulov hadennels odd bas agao heyave skedt doin 
Se ton et elotwiedt foe ,tnendaaxd sooites sever s coved 
Sit Yo eallizorg Hlod sa¢ tk seve .xcoctomom sieFaeo & 
aa te tacmovem betamine os% Sus aacisweqesg vateoons 
Aebsteno dass t¢ quads edd th ievke 

a ink one: seeron this edd ceve bel eaybisdnar’ opsak 
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221 | 
buildins, both whose wings were conasetedsby a hish pavilion. 
The architecture of this portion is a new proof of the influence, 
thet the building of the Louvre undertaken at just this time, 
exerted on contemporary architecture. This is particularly. true 
of the external parts, that in their treatment bear an undenia- 
ble similarity to Lescot’s facade of the Louvre lying next the 
river. Excepting that the masses of the walls here consist of 
bricks, while the high plinth of the window sill in the sround 
story, the dry rusticated enclosures of the angles and the win- 
dows, as well as the cornices are executed in cut stone, The 
windows in the Sround story are terminated by curved caps, those | 
in the upper story of the pavilion having angular caps, otherws's 
ise ending with a bold cornice on consoles. Likewise the dormers 
with their curved caps and the slongated volutes at their sides 
have a severe antique treatment, and the whole is not free from 
a@ certain monotony, sven if the bold profiling of the forms, the 
imposing proportions and the animated movement of the masses s 
give it the stamp of fresh energy. (4: 

Thares drawbridges led over the wide moats, one to a side court 
and the two others to the court of honor. Of these the one pla- ~~ 
cod at the end of the right wins belonged to the mediaeval buil- 
ding, as already seen by the round towers flankias it. Evidently © 
the building was to be extended farther hare and the entire med- | 
iasval arrangement was to be replaced. Then as at the Louvre, 
in Ancy-le-Franc and Hcouen, was intended a rectangle with hish 
pavilions at the angles. The other entrance with a portal like 
the antique lies in ths middle of the left wing, and one passes 
from it into a graat hall decorated by niches in the walls,that 
opened with five arches resting on piers into the court (Fig.99). 
Bach one,of this system of arches is expressed on the inner fa- 
cade by a crowning gable. The architecture of the coutt side f 
follows thes severe classical conception like the facades, exc— 
spiing that rustication is here suppressed, and on suitable pla- 
ces, particularly in the niches of the upper story and the encl—- 
osed wall panels of the lower, refined ornament adds a noble 
ornamentation. Du Cerceau already did not miss the relation to 
the Louvre and hs says:- “This pavilion in part follows that of 
the ;ouvre, not that this is the same arrangement in the enrich- 
ments or the same convenisnes; but because thers is here nothings : 


Bat beautiful ona good”. a 


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s 222 

Bxtremély extensive were the parks, gardens and vineyards, t 
that surrounded she beautiful estate to a great distance on all 
sides. Especially magnificent is the great ornamental garden in 
the vitinity of the residence with rich beds of flowers; in the 
midst being a great water basin. Broad and beautifully paved + 
terraces surround it on 411 sides, enclosed by a brick wall with 
blind arcafles. Opposite the entrance on the south side was pla- 
ced a covsred portico between two high pavilions, opening to t 
the garden by 29 arches, in summer being 3 shady promenade. The 
architecture of the arcade and the pavilicns is executed in the 
Same Simple classical sense as that of the chatean. 

75. Chateau of Vernenil. 

One of the grandest creations of the entire French Bonatenenlin 
is chateau Vernenil, a knowledge of which we owe to du Cercean. 
axecuted with a full understanding of the antique world of forn, 
it shows this in a freedom of treatment, that permits the assump— © 
tion of an important architect of the time, As such is mentioned 
to us J. Brosse: the great rebuilding was not yet completed in 
1585. If Bullant employed at the chateau of Heouen the antioue 
glemoezts merely as a splendid accessory in order to prove his 
studies, if de 1’Orms at Anet sacrificed the antique to many p 
peculiarities of French ideas, the master of Verneuil has atta— 
ined that high freedom of treatment, which indesd moves within 
the antique circle of forms, but brings the national stamp into 
perfect expression. We must indeed in certain parts ellow sone 
Barocco slements toaplisase us; but we should not forsst, that 
also then in Italy many caprices of Michelangelo had pene 
into architecture. 

Tn a charming valley of Picardy 4.8 miles from Senlis lay the 
old castle of Verneuil, a stately structure in great part dating 
from the middls ages, which Philip de Boulainvillisr possessed 
about the middle of the 16 th century. This noble that du Gerc- 
eau terms 2a “man that was a great amateur of architecture”, de- 
cidsd that retaining the old parts, he would add a new and mag— 
nificent building, for which he took a hill beside the old parts 
of the castle. Likewise the indisp&nsable moat was cut, that 
must surround the now building on all sides, which afforded the 2 
advantage, that there was found in abundance excellent and eas- 
ily wrought stone for the structures. We give according to du 


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223 

Cerceau the original plan of the aouilding, that personifies the 
programme of the French chateau of that time in a grand way (Pig. 
100). Over the drawbridge one passed through ta splendid entran- 
ce hall, charecterized as a rotunda with additions in niche form 
and a high domical vault, indeed the earliest example of its k 
kind in France. Qpen arches on coupbed columns connect it with 
the side wings of the chateau. One now enters a rectangular co- 
urt of imposing extent, 108 ft. square. About it are grouped 
the separate wings, flanked a$ the corners by two pavilions, 
and not by the usual sinsle one. These projecting masses are 
covered by cylindrical roofs (Fig. 101) --- perhaps one of the 
first axamples ---, which give the building an extremely anima- 
ted eifect. Then the duke of Nemours later acquired the building, 
he changed this arrangement, so that instead of the two pavili- . 
ons only one, but of sreater extent rose at each corner. Accord- 
ing to the custom of the time ths pavilions were further divid- 
ed into separate living apartments with cabinets and were mostly 
furnished with a separate stairway. The other living rooms lay 
in the wing on the right of the entrance, while ths left wing 
in its entire extent contained an open portico belaw and a gal- 
lery above, the favorite part of the plan of the French chateau 
of the time. The principal stairway lies in the axis of the bu- 
ildins opposite the entrance. It ascends from a wide vestibule 
in two curved branches and @ double flight, besides the princi- 
pal stairway of the Tuileries being one of the earliest in France. 

But with this important composition the whole did not pass in- x 
to completion. Tks duke of Nemours caused not only many altera- 4 
tions and enrichments in the main building, but decided to add 
toward the garden also 2 projecting mass of buildings, that for- 
med at the middie a colossal niche as 2 termination of the plan 
of the garden, and flanked at both corners by projecting pavil- 
ions, likewise with cylindrical roofs. In the plan in du Cerceau’s 
drawings, this buildings is connected by a Sreat hall with the 
pear of the chateau, but in the perspectives view a clear space 
lies between them as a continuation of the terracs, that surro- 
ands the entire chateau. A double flisht of steps leads from 
there down to the lower garden. At the left wers the court atid 
the buildings of the old castle; but in fact was ssen & magnif—- 


4 
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224 
at its end and always on the main axis a double flight of stsps 
led to a second considerably lower garden, which consisted of 
flower beds in the middis, enclosed by plantations at both ele~ 
vated sides. A moat Si ceoieaue this second garden and was furth- 
er repeated in two parallel branches, so as to form for its en- 
tire length two transverse alleys enclosed by water, on the pr- 
incipal axis of the chateau being connected by bridses with tri- 
umphal gateways, and terminated at the end b: a pavilion. The 
view from this backward over the. canals, the arbor walks, the 
two flower gardens rising above each other to the colossal sen- 
icirculah nicas with its pavilions, the whole still dominated 
by bhehttchly subdivided masses of the chateau, must never have 
had its equal. In any case it was one of the earliest designs © 
to take into account in an slevated ideal sense the formation 
of the ground itself. 

Let us return to the chateau to glance finally at its ~ atiokeehen 
ecture. In this first arrangement the exterior chiefly produced 
its effect by eisht Borner pavilions (fis. 101). It had above 
the hish ground story an upper story, above which it ended witha 
a bold cornice with consoles and a terrace adorned by a balust— 
rade. Prom this rose an upper story with a considerable diminu— 
tion and crowned by cylindrical roofs. The architectures is at 
the same time dry and rich; the former by the bold tastitcation 
at the plinth and the corners, the latter by the wall panels 
covered by ornaments, foliage, masks and helmets, that fill 
the surfaces beside the windows, as well as. by the richly desi- 
Sned trophies, that ara piaced over the curved caps of the win- 
dows in the upper story. It is notable, that we here find one 
of the first examples of separately rusticated ashlars, which 
intersect the snclosures of the windows, the round portal of 
the front, like the one story connecting building, is elevated 
piece of magnificence by coupled Sorinthian columns and zr 
y decorated frieze. Above a balustrade the middle build- 

s terminated by an addition in semicircular form and is 
wned by a lantern. Thus certainly much in the forms bears t 
the ugly stamp of caprice, yet the whole is still created in @ 
teuly artistic spirit on the whole, so that it makes an imposing 
impression. 

The internal court facades (Fis. 102) are also hers suitably 


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characterized by a more refined and ornamental treatment. In 
the lower story rise on high pilasters elagant fluted and conl- ‘ 
led Doric pilasters, that in the upper story are continued as 
broad vertical bands broken by niches with statues. The termin- 
ation is formed by an attic with a splendidly ornamented parap- 
et, above which the pilasters are crownéd by trophias. In both 
stories are arranged high windows with crossbars, but. on the 
contrary the roofs of moderate:neisght have no windows. Especial- 
ly rich and noble is the left wing, that in the ground story is 
opened by arches instead of windows (Fig. 102). The laurel bran- — 
ches in the spandrels, the masks on the keystones, the trophies — 
and the broken frieze, the arabesques on the pilaster frieze of 
the uppsr story, the refined treatment of all members, particu-— 
larly the foliage on the cornices and the enclosins mouldings, 
all this gives this facade an ornamental abundance, that compe- 
tes with the treatment of the internal facades of the Louvre. 

At the middles of each of the three court facades are further. 
arranged portals, in the sround story with coupled Doric colunms, © 
flanked in the upper story by two caryatids at each side. Above | 
the main cornice rises a curved gable with a termination, richly — 
oenamented anf crowned by two seated fewiale figures. Du Gerceau 
is correct, when he says; “If I could say to those who know in 
such cases, that this court will scarcely find its second”. ; 
The changes that the duke of Nemours undertook at the building © 
chiefly concerned the simplification of the plan afid of the ex- 
ternal facades. Since at the corners the two pavilions were com- 
bined into one, then ths lantern added at top must be omitted 
and changed into the complete upper story. Thereby the proport— 
ions bacome more slender, the outlines more quist. and harmonious. 
Agreeing with these the windows were more simply treated and the 
ornamentation wascplaced senerally at a few points, limited to 
the original crowning of the facade and the middle entrance. Tf a 
The latter also lost its attic and became a substrictarsoofcihe 
domes, with a single but tolerably colossal order. Whikhe thus 
all was simplified and changed in the sense of a srander effect, 
there was developed on the early added projecting building next 
the garden a capriciously absurd magnificence, that only finds. 
its like on the white house of chateau Maillon. The great semi- 
circle and the angle pavilions ars arnamented by colossal Gorin- 


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226 
Corinthian pilasters, that project on high pedestals and bear 
2 luxuriantly decorated frieze. The middle building ends above 
them by a balustrade, but the pavilions have a lower upper sto- 
ry, whose subdivision is effected by broad pilasters over the 
columns. On these pilasters are wonderfully squat forms of sat- 
yrs with Egyptian head dresses and doubled butterfly winsgs,and 
spread legs of animals, between which the arms extend to the 
ground. On their head dress colossal leaf crowns rise excessi- 
vely to the cornice. Combined therewith the overloading ornamnen- 
tation of all other parts, the figures resting on the window c 
caps of the sround story, that in the enclosures of the upper 
windows extend into wild arabesoques, and that ares covered b: 
broken volute gables, the overrtch lavishins of foliase on frie— 
zes and other surfaces, finally the four colossal atlantes, rep- 
resenting the four great monarchies and enclosing the portal, 
thus must one confess, that here a carnival of form.is.loosed, 
that however with all this betrays the hand of an important 
artist. 

Hho was this master that on the front building was so massive- 
ly severe, and on the garden facade was so extremely luxuriant? 
I believe that J. A. du Gercean himself is to be recogniged as 
the originator of this part. Whoever compares the designs in h 
his different works, particularly in tha book of architecture 
of 1582, will discover a great affinity in the artistic tenden- 
cies. Design 87 has not only in plan bat also in slevation, in 
the cylindrical roofs of the corner pavilions, the semicircular 
gable over the middle building a decided similarity to Verneuil. 
Fhe curved roofs generally play an important part in those works q 
of du Gerceau. Ths sarnest and severe style of the architecture” 
on the exterior at Verneuil finds its parallel in most of the 
designs. But sven for the fanciful Barocco growth of the garden ~ 
pavilion finds an analogy in the “Solomonic order” of the triun- 
phal arch (p. 238). That he does not name himself as the origi- 
nator of the building cannot be taken as negative evidence, sin- 
ce he scarcely ever speaks of the architects of the chateaus 
drawn by him, partly betause he assumes them to be generally 
known, partily since that time may have still had the custom 
from the middle ages of allowing the architect to retire behind 
his work. On the other hand if we cast into the balance, that 


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du Qerceau was near the duke of Nemours, as shown by the dedic- 
ation of his last work, then will our conjecture be raised to 
probability. | 
76. Chateau Charleval. 

Yet grander than the work described in the last Section was 
the dssign of chateau Charleval, which Charles IX desired to 
cause to be erected near Andelys in Normandy, but which even 1 
less came to completion that chateau Verneuil. Brantome says:-— 
“Tn that forast he had caused to be laid the foundations of the 
most superb residence ever in France, and named it Charleval, 
because of the location in a valley and of his own name”. And 
du Cercean statesr- “The king caused to be dssisned a plan wor- 
thy of @ monarch, and caused it to be cared for and began a 
puilding of the lower court; and the foundation being laid, er— 
ected the first story and established there the offices. If it 
had been perfected, I believe that it would have been the first 
of the buildings of France, for the size that it would have had. 

These words are not too strons, if we slance at the plan in 
du Cerceau. That shows an area to be built upon far behind what. 
would have remained even the original plan of the Tuileries. It 
would have become a palace of an extent elsewhere found only in ~ 
the seats of oriental monarchs, suited in a high degree to rep- 
resent royalty, and yet this entire arrangement from its lonely 
situation would be regarded as only the private residence of 2 
princs. The whole was to form a nearly square rectangle of 1089 
ft. wide and 1060 ft. desp. A moat was to enclose the entire 
building, and ai\drawbridse led across this to the front side. 
At the rear a second drawbridge formed the connection with a 
vast sarden of almost equal extent, likewise surrounded by can- 
als and divided in the middle transversely by a broad basin of 
water, extending at the end into a rather elliptical round enc- 
losed by leafy arcades. As du Cerceau testifies, Charles caused 
the garden to be completed; of the chateau only some portions 
were executed, being interrupted by the kins’s death. 

The ground lines of the plan ase as follows. From the portal 
hall of the front entrance one passed into the vast outer or ; 
lower court, that formed a squars of 480 ft., surrounded by ar- — 
cades and servants’ dwellings. Of these two courts the outer f 
forms the forecourt and the preparation for the inner one, and 


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228 
one passes through double colonnades and a wide Sateway into a 
smaller second court, whose middle at each side was occupied by 
a chapel. The principal building of the chateau in the midth of 
the great middle court is arranssd about a square court as 2 
structure with four wings with magnificent pavilions at the cor- 
ners. Beside it extend on both sides flower sardens with leafy 
alleys, enclosed by terraces sith arcades. The chateau in its 
arrangement exhibits tas sams severe symmetry as all else. Thr- 
ough an imposing gateway one enters a broad vestibule, from wh- 
ich ascends a statcly stairway with doubled straisht flights. 
In the axes of the two side wings are also double stairways, 
but with winding flights, arranged like the main stairway of 
the Tuileries. The show piece of the building is the vast fes— 
tal hall, that occupies the middle of the wing next the garden, 
three-aikled with two rows of columns, 180 ft. long by 72 ft. 
wide. Beside it at each side is a stairway in connection. with 
the other rooms. A doubled flight of steps in horseshoe form 
leads from the hell down into the garden. The form of the hall, 
that casts into shadow by its Sreater width of galleries previ- 
ously common, the imposing development of the steps, the severe- 
ly executed symmetry of the wholes, allows to be recognized in 
this buildings the first energetic attempt of a new conception, 
to place the tendency to ths colossal instead of the former tra 
dition. The attempt was precipitate and was frustrated. First 
under [Louis XIV. was this tendency realized. . 

What du Cerceau has preserved to us of the architecture of 
this colossal work, although only the buildings of the outer c 
court, corresponds to this endeavor in a manner from which one 
cannot strip senius, although in the forms snd composition en- 
ough caprice is added. The architect has first of all directed 
his endeavors to expressing great proportions by corresponding 
great forms, since littis forms did not suffice here. To sxecute 
this he amployed the means which at the same time in Italy came 
to rule, particularly by Palladio, end of which we have already | 
found an example in Francs, on the latsr portions of the chateau © 
of Chantilly (p. 36). This is the use of colossal orders of col-— 
umns or pilasters, that include two stories. On the facades of 
the court is this system so formed, that mighty fluted pilasters ~ 
extend to the roof cornice, between which in the lower story al- 


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alternates a high arch, above it being a likewise very high win- 
dow of the upper story, besids it in the succesding system is a 
low rectangular doorway partly closed by a balustrade, over wh- 
ich is placed a slender niche with a status. This entire systen 
is based on a deception, on the illusion that one only has to 
do with a single story, wherefore even the niches by their est- 
imats lead the sye above the line at which one would seek the 
floor of the upper story. But the principle being once sranted, 
the composition has an eminent effect anf betrays the hand of 
& naster of the first rank. 

Yean while ths archited must play an intellectual concealment 
of the main lines of the internal construction, and so he rises 
on the external facade to a treatment, against which architect-. 
ural losic can say gothins. He subdivides his wall surfaces by 
sreat Doric pilasters sxecuted in rustication and Standins on a 
high lower story Jike 3 plinth. Between these he arranges each 

two systems of windows, indeed in the lower as well as in 


the parapet of the upper, and also there carries throush, the 
Srsat vertical lines. The windows are likewise enclosed by rus— 
tication, while the filling walls consist of bricks. This comp- 
osition is therefore so rational, since the great pilasters are 
to be accepted as not merely an expression, but in their funct— 
ions as buttresses, that accordingly without reference to the 
internal division into stories form a unity from the plinth to 
the roof, within which the internal errangsment is shown by the 
windows and med& sufficiently clear. Also the forms in detail 
ars peaceful and are yet treated with tolerable severity, even 
if the caprice of the taste of the time appears in the broken 
gables and window caps. Likewise the richer decoration of the 
court facades breathes the same spirit of energetic clarity, 
the same great sense of proportion, rhythmic alternation and 
monious effect. In a word, the whole is 4 composition of the 
first rank. | 

Also here we know nothing of the person of the architect, if | 
some indications do not point again to du Cerceau. We find again © 
the wealth of imagination, the Srandeur of the composition, the 
Living sense of the effect of the masses and his judsment of 
contrasts in his,numerous designs. The use of the colossal Doric : 


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230 ‘ 
pilasters we find in design 23 of his book of architecture of 
1582; he émploys rusticated pilasters in No. 20 as at Sharleval. 
Perhaps more important is the fact, than in his description of 
Charleval he adds @ great sheet with actual variations for the { 
development of the external facades, between which the designing ~ 
architect had evidently left the choice to the owner. Still we 
add, that in this casé we only have to do with conjectures. We 
might only emphasize this, that ons must well believe him capa-— 
ble of such a design on account of his other works. 
77. Chateau of Pailly. 

fe now pass to the consideration of two chateaus, that merit 
attention less by their extent than by their noble classical a 
architecture. In both is believed to be recognized the hand of 
the same architect, sinee both were erected at the order of the 
same owner, marshal de Tavennes. Gaspard de Sauizpcmargaks de 
Tavennes, plays a very important part in the history of prance 
in the second half of the 16 th century. Bold and brave, he da- 
ped to appear at the court of Henry IT as a sworn enemy of Dia- 
na of Poitiers, and yet he knéw how to obtain the marshal’s ba-— 
ton by his warlike services. In the civil wars he beéame promi- 
nent as a violent persecutor of the Humuenots, and his fanatic- 
ism went so far, that he gave his approval to the murderous plan 
of the night of S. Bartholomew, and according to Brantome’s tes- 
timony at that horrible catastréphe, he rushed through the str- 
eets with the ery:-“Kill= Kill! Bleedins is as good in the month 
of August as in May!” Im the year 1568 he suffered the loss of } 
his eldest son, and “belisving the peace lastins, he engaged in 4 
building the chateau of Pailly, in which he employsd his good 
household and exercised himself in the chase”. | 

The chatean is located in the little place Du Pailly at two ~ 
hours from Langres, and exhibits an irreguler form, that evid- 
ently is explained by the use of the foundations of a mediaeval ~~ 
structure, perhaps also by the rocky sround on which it is erec-= 
ted. Three sides, cne of which is destroyed, are placed at right » 
angles, the fourth forming an oblique angle. Where it joins the 4 
facade, there projects a great rectangular pavilion, which con= | 
tains the principal entrance. At the other three corners are p 
placed round towers, whose arrangement is perhaps also.te be 
attributed to the middle ages. The external sides of the chateau ~ 


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231 
are entirely simple and without architectural importance. A moat 
over which lead two drawbridsges and a broad stone bridge for the 
principal entrances, surrounds the whole. In contrast to the ent- 
ire plainness of the other parts, the entrance pavilion at the 
southwest angle of the building is treated with extreme richness. 
Above a high ground story, whoss pointed rustic aphlars form 2 
transition to the plain masses of ths adjacent parts, there rise 
two storiss of stately proportions and decorated by projecting 
coupled columns. These are Ionic.in the second story, Corinthian 
in the third, all with very slender fluted shafts, nerely rest- 
ing on Simple plinths. In the middils they encose a high window 
with double crossbars, while the wagl surfaces at both sides 
ars adorned by rich framed marble salbs. The frieze in the prin- 
cipal story is dscorated by elegant flowers and is broken over 
the columns, but is continuous on the intercolumniations. On ¢ 
the contrary ths second story terminates in a crowning cornice. 
with great consoles that take the place of a frieze. The upper 
endins was formerly a niches with an equestrian statue of the 
marshal and flanked by pilasters. All parts of this splendid 
composition are brought into a harmonious whole by elegant men 
bering and fine ornamentation. The existing frames of the marble 
slabs consist of foliase, volutes and masks, the slabs having 
@ noble and picturesque sffect, the friezes in both stories and 
finally the enclosures of the windows with their ornamental ban— 
ds exhibit a result of that mode of ornamentation, that about q 
the middle of the 16 th century again splendidly blossomed again. 

In the interior the building enclosed a resular court TOxfG¢ 
Squares. The eastern wing has disappeared; the adjacent northern 
one in sreat part consists of a colossal keep from the middle 
, that by its heavy masses crushes the effect of the other 
ts, and sven ths main portal placed beside it scarcely per- 
s all its richness to appear. The opposite south side cont—- 
ains at the eastery angle a round stairway with winding stairs~ 
Openings to the coubt by arches, that is connected with the ent=— 
rance pavilion, and between both stairways extends an arcade on 
round arches, above which in the second story beins a narrow , 
gallery. The living apartments ars chiefly distributed in the 
western wing and in the adjacent angle of the northern one. In 
the upper story is arranged a passage projectins over three ft. 


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232 
on colossal consoles, for connecting the northern and southern 
wings. The entire construction in massive solidity is made of . 

a hard stone like sranite. 

The architecture of the separate court facades exhibits 8 cer- 
tain diversity and perfect harmony in noble classical forms with 
modsrate treatment, and merely occasional cartouches are inter-— 
mingled with more fanciful elements. Simplicity and solidity p 

prevail, and they have also determined the use of plain Doric 
pilasters in the sround story and of Ionic in the upper story. 
With this is connected in Sood harmony the rusticattioniof the 
masonry, that by regular pointing appears refined and elegant. 
Gp to the impost of the arch is this rustication carried on the 
bilasters of the ground story. Particularly beautifully is arr- 
anged the proportion of the apenings to the mass of the wall. 
Betwesn the separate arches the wall surfaces are each divided 
by two pilasters, between which remain spaces for little hand- 
some framed slabs. Otherwise the effect of this noble facade @d 
depends on the contrast of the pointed rustication with the smo- 
oth surfaces on the pilasters, entablatures, plinths and window 
paravets. The termination is formed by an attic above a bold ¢ 
cornice with consoles, that is crowned by gables over the syst- 
en of separates arches, whose tympanums exhibit a filling by car- 
touches. The open staircase, that in the upper story is decora- 
ted by Corinthian pilasters and ends in a round dome, lends to 
this facade an especially picturesaue charm. 

An allied treatment makes itself felt on the western facade’ 
(Fis. 108), except thet here instead of the arcade the ground 
story also shows great windows with cross bars, and that bet- 
ween these project those sreat consoles in pairs, on which rests 
the connecting passage. These cosoles rise from the plinth, at 
nidheight have energetic masks and from thence above a effecti- 
vely ornamented by flutes. 

With good reason the distinguished master of this building has 
reserved the greatest magnificence for the narrow portion of the 
northern facads, that beside the old keep contains the entrance, 
to the main stairway. Three portals, the two smaller at both s 
sides, ons of which leads to a round side stairs, between them 
being ths great portal arch of the main entrance, enclosed by 
coupled Doric pilasters, open the ground story. In the upper 


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233 
story arcs projecting Composite columns, fluted and of extreme 
length, including a window at the middle with niches for stat—- 
ues at each side. Above follows an.iattic and then a great dorn— 
er window, whose coupled and arched windows are flanked by Com’ 
posite pilasters and outer columns of the same order. The crow- 
nins sable and side additions to this structure with their volu- 
tes, scrolls and vases, genii and lions supporting arms, gs not 
free from Barocco clements, but also has a skilful and sffective 
grouping. Fhis showpiece of architecture is lavishly ornamented 
in all parts; the Doric pilasters of the ground story hage pan- 
eis of laursl leaves, the portal arches and the window enclosu- 
res are membered in the nost beautiful manner, and finally the 
frieze in both stories is entirely covered by foliage. One fault 
is thet the Corinthian columns of the upper story rest on too 
low plinths and thereby obtein an excessive isnsth, which beco- 
mes still more apparent by the thres interwoven bands on the 
upper half of their shafts. Qn the window parapet is seen the 
emblem of the marshal, a Pegasus , below it being his motto; . 
“fNhither lead the fates?” 

The storms of the Revolution have left remainins little of % 
the formerly rich equipment of the interior. To the best preser- 
ved portions belong the principal stairway, that in arrangement 
and ornamentation makes a distinguished impression. It rises 
from the véstibuls in @ straight flisht, covered by a tunnel 
vault and is decorated by elegant framed marble slabs on ths 
walls up to the first landing, from which it extends to the 
upper story in two branches. A stately vestibule ends here 
at the so-called “gilded hall”, that occupies the entire ar- 
sa of the keep. The hall had a tunnel vault in the middle ages, 
that the Renaissance concealed by a wooden beam ceiling. The b 
beans still show vestiges of painting, also the deep window -re- 

esses covered by mytholosical frescos, indeed of slisht value. 


cesse 
A magnificent fireplace (Fis. 20) on consoles adorned by acanth- 
us with a Doric frieze, over it being & panel enclosed by coup— 
isd and finely fluted Corinthian pilasters, is covered by luxa- 


riant cartouchs work with festoons of fruits, exhibits the arms 
of the builder held by two winged senii. Colors and rich gilding 
to which are inserted marble slabs, enhance the impression of 


this magnificent work. Two galleries formerly lec from this hall © 


— Se 


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234 
to the little chapel that lies in the northwest tower. It was 
covered by a dome, that rested on still existing fluted columns, 
between which are placed the forms in relief of six virtues. At 
present ths chapel unfortunately serves as a dovecot. 

78. Chateau Sully. 

The second building that the warlike marshal caused to be er- 
ected is chateau Sully, located in Burgundy 4.5 miles from Autun. ‘ 
It was begun in 1567, yet further works on it are mentioned in 
the years 1596, 1609 and sven 1630. The narshal died here in the 
year 1573. With the two splendid buildings left behind by hin, 

a statement in his memoirs is in strange contradiction. He says:-— 
“Buildings cause an honorable impoverishment and a species of 
illness: scarcely can those who have commenced recover from it. 
If this be to leave a memorial of us, it turns more to the arch-— 
itect; hs is a stranger to us, like those that have horses, st- 
one guarriss and money, who must acquire reputation to possess : 
them. And the worst is that he builds nothins to suit posterity, 
that often makes doors whers were windows, and few persons will 
seo those buildings without finding some fault. Where shall ne 
sesk beauty, symmetry, and what vauit is more beautiful than 
the sky? What sarden or alley is more beautiful thar the count- 
ust More intelligible to us would be these complaints, if we 
accept them as not being the expressions of the owner, but of 
his heirs, who edited the memoirs. 

Ghateau Sully forms a tolerably resular rectangle, nial wings 
are grouped around a nearly square court of 125 by 115 ft. The 
exterior is without architectural importance. Ai the angles rise 
pavilions set diagonally, perhaps a later addition; in the mid- 
dla of the north facade projects a later Cothic chapel. The en- 
trance, to which one passes over a moat, lies in the middle of 
ths east side. 

All architedtural interest is concentrated on the four facad- 
ss of the court. Besides those of chateau du Pailly they belongs 
to the purest creations of this epoch. Déesignsd in a sinilatly 
‘severe spirit of classicism, they adhere more closely that those 
to the Italian conceptions, Hence the strong accenting of hori- 
zontal lines, the simplification of the roof story, that is in- 
dsed retained but is subordinated and not even once is happily 
treated. Charcataristic before all is the moderately earnest m 
menbering and dscoration in the plainest forms of the antique. 


dim awed besse ISI9Ttib ese eves eebeort etesegse sks | 
i200 bn avedtooe 94 | apesred 
8 absoet desw oti 
fanistros solcn 
‘ah n8e gedo 
--aedto edt 


eat aoilives ee: 


peldnoe 2o cubis 
tal ob vaste 


i 
ote deniase: g tusaeis 
nce Lad a09 Bedox: 


ett noiiiv shen 


ts 
Shoat ne Ww a 


» 


- 6 ? v i 29 rt i 2 
Dest iy ‘e , 

Seekic ORS, Yd guc 
ome bedanina vi. 


ned (8h SUS% Att ap ey 


v 


~ Pee bee ey 
9a Wa & hs 


sin scree. beansteso gad) wretedo! ens 


ny es sie st ti 


‘ “¢ any , 


a 


235 
the separate facadss hsre are differently treated, though with 
a thoroughly unified basal harmony’ only the southern and north- 
ern correspond to each other. In the axis of the west facade a 
and opposite the sntrance projects a pavilion, which contains 
ths principal portal and stairway. But while in the chateau du- 
Pailly this part of the plan rises by a story above the other 
masses of the pbuildins, here also prevails for the pavilion the 
Strictly horizontal Lines of thse common main cornice. 

The arrangement of this facade.is based on a system of coubled 
pilasters, but which are placed closer than on chateau du Pailly. 
As there here also in the sround story the Doric, in the upper 
the Ionic being employed, the former, like the story 68 which 
they belong, being treated with plain rustication. Deep arched 
recesses, within which lie the windows, open between the pilas— 
ters. In the upper story are sreat round-arthed windows are pka- 
ced doubled berossbars. On their parapets is ssen in relief an 
imitation of a balustrade. A crowning cornice with acanthus con- 
soles coupled in pairs forms a bold and as elagant a termination. © 
The middle building has at each side of the arched portal smalier ” 
rectangular windows, above which are placed medallion heads en- 
closed in rich Barocco frames. Similarly here is also treated 
the upper story. 

This facade is distinguished by beautiful proportions, fortu- 
nate contrast of the openings with the wall surfaces a lgvins 
rhythm, and this is true in a still higher degree of the south-— 
ern and northern facades. Likewise here are arches in the lower ; 
story, in the upper story being arranged round arches to enclose ~ 
the windows; but. the openings are connected in pairs by a pilas- 
ter, but are sapérated from the succeeding group by two pilast- 
ers and a broad wall mass, so that an unusually animated chythno, 

appier contrast and stili more noble proportions resuit. Doubs— y 
less this facade is indeed one of the noblest, that the french | 
Renatssance of this epoch has produced. The broad wall surfaces 
in the ground story are adorned by busts in medallions, in the 
upper story by rectangular flat recesses over which are placed 
heads in relief in oval medallions with elegant enclosures by 
cartouches. In the axis of the southern facade ths two middle 
arches lead to the principal stairway. | 

The interior of the chateau has experienced numerous alterations 


| 


= 
tes 


jonny smote: 4odmede 


od ow 


a & 
id 


waew Ww el 


ma gutorsonsc 7D 


a es of the 16 th century. For the antique orders ars indeed trea— 


236 

Only one chamber shows unchansed its old decorations, the paint— 
ed ceiling beams, the stately firsplace, and even the splendid 
hangings of this time. Further there is preserved in one hall a 
great fireplace with luxurious ornamentation in relief. Its str- 
onsgly projecting mantle rests on columns of extremely fanciful 
form and ornamentation. ginally is seen in the apse of the chap- 
el a costly ceiling, that contains in painted carved work, arab- 
eSques, masks and figures, mingled with cartouches of elesant 
design. 

72. Ghateau Ansgerville-Bailleul. 

How generally was accepted the sround motives once found for q 
plans of chateaus, and how it was carried out with various trans- 
formations, is proved by a number of buildings of the epoch. As 
one of the most interestins of the smaller ones published by Sau— © 
vaseot we here regard that of Angervilie. Located near Fecamp in 
Normandy, it belongs to the smaller bat also the more elegant 
chateaus of this epoch. Nothing has been obtained concerning its 
Origin, but the chamcater of its forms indicate the lest decad- J 


ted with good understanding and in all purity, but in the common 
use of partly dry and partly eccentric cartouches and in many 
ether slements alrsady undeniably expresses the trasese™ to 
ne art style of the 17 th century. 
Ths plan of the little building (Fis. 105) shows a pes inhi 
without a court, flanked by four pavilions. It is the form air-— 
eady established for guch plans, such as for example we found 
at Martainyille, except that the earlier round towers have now: 
become pavilions, and that the utmost possible regularity of 
the plan is striven for. The antrance is flanked by columns and 
liss in the middle of the facade leading into a vestibule, that 
is covered by cross vaults and deccrated by niches in the wails. 
In the extension of this one reaches the comfortably arranged 
stairway, that in a straight flisht ascends to 2 landins ofnam- 
ented by niches and covered by cross vaults, and returning back=— 
ward from it leads to the upper story. The distribution of the 
rooms is the same in the lower and upper stories, only that in | 
the ground story the projecting part of the pavilion is. separat- 
ed as a little cabinet. Hour rooms in the principal story, all 
of equal size except that dimkRished by the arransement of the 


/ Ps 
Ps ee ~~ 


enaoaL ic i 


be 


al 


7 


237 
stairway, and four side rooms in the pavilions form the whole. 
The chambers in the main building receive their light through 
wide double windows, thas in the pavilions through narrow single q 
windows. ; a 
Particular care is devoted to the artistic treatment of the 
facade (Fis, 106). And indeed the richer ornamentation is cone- 
entrated on its middle portion, which contains the portal. In 
she ground story are elegant fluted Doric columas, that project 
free with bold entablature and enclose the portal. Over the lat- 
ter is seen the arms held by old men in a richer than tastefal 
conception, and an odd mixture of opposed forms in a capricious 
connection. Usly fabulous beings like sirens, senii with festoo-— 
ns of fruits, trophies and shéelds are combined in a wonderful 
mannsr, and by the scrolls of the cartouches entirely receive 
the stamp of the Barocco time. To these are added the separate 
ashlers, that just as rudely as without motive intersect the 
architraves of the portal and of the windows. In the second st-— 
ry follow Ionic, and in the bhird are Corinthian columns, all 
ed and ornamentally wrought. Abovs rises a slender bell ¢ur- 


=) 


ret crowned by a lantern and flanked by Gorinthian columns, wh- 
ich rest on elongated consoles.It is also here very Barocco, yet 
it cannot be denied, that the composition of this middle portion — 
t S an original and. animated impression. This was 
he original arrangement of the roofs. Wot only 
the angle pavilions hav® stsep pyramidal roofs, but also the r 
rcof od the main building was divided into two independent high 
roofs, so that the bell turret with its ornamental lantern more q 
effectively appeared against the sky. To this was added the un- 
usually rich figure and ornamental decoration in hammered lead 
ornaments, that crown the roofs and likewise the already capri- 
cious but boldly composed dormer windows. } 

Of the initial equipment only remain frasments of the elegant- 
ly wrought wood paneling of the walls, Barocco in design and 1 
lean in drawins. 

80. Ghateau Maune. 

The animated use of geometrical forms and constructions, to 
which the architects of the Renaissance devoted themselves by 
preference, cecasionally led them to experiment with compliga-. 
ted ground plans, instead of the naturally rectangular arrangement 


© 


: whole make 
. 


ty 
ctr 
ws 
t 
ee 
wo, «> 
ce 
[em 
t} 
gS 
tp 
Lae) 
oe i 
se} 


me’. 
“ 


we 


4 


t 


ea a ae Al 9 F 
“ott bas slorts es 


poltay 


feta 


mel az 
Se lwre 


“fencises os e 
nent “8 TEs 


we oe 


6. 
ee ge 
aA 


. 
a fae Fe be 
dtd ae te bet dy 


4 peeas “ie ee 4 A 4 4 5 i 
woennce ze 


As a’=n&@ eB | 7. =) ee. Shi ley AK. CLAN 2) fae See Se 
a ee ea aS a en ke 
/ * yr . 


238 
The circle and the various kinds of polygons in manifold use and 
combinations play a chief part in this, and it is as if in such 
composition is echoed at the cost of the otharwise so rational 
spirit of the architecture af time. In Italy the viilas@agearo-— 
la is a notable example of this tendency. For France du Cercean 
at least on paper sives sufficient models in a number of sketch- 
8s in his book of architecture. He freely remarks occasionally 
there, when he presents too eccentric inventions, that he gives 
them “more to please and diversify than for anything else”. In 
reality one building of this sort has been preserved till our 
day as a proof, that sometimes even here from such sports come 
the power of development of monumsnteal earnestness. 

This is the little chateau Maune (Mosne) near the railway 
station of Tanlay on tae line from Paris to Lyons, located in 
the department of Yonne in old Burgundy. The duke of Uzes caus- 
ed to be erected in the form of a resula Ppentason, at whose an 
gles rise external projections like towers, partly serving as 
bays and partly as stairways (fis. 107). In the middle of the 
building du Ceresau'says, there is placed a fountain below, ar- 
cund which a pentagon ascends forming a doubis windins stairway 
to connectithe few large rooms into which the separate stories | 
are divided. The stairs are entirely opened so that the fountain ~ 
is always seen in ascendins or descendins. The same authority 
praises the utili ile of the arrangement:- “In this buildings are 

> he » very well arranged because of the foun- 
; together with rit a chambers, wardrobes and all conveni- 
S ; esidence, so that a story Supplies what 
is nsedea”. The roof of the pentagon forms @ pyramid, from the 
le of which rises a little lantern. Du Corcsau devotes 2 
dstailed description to the construction of the beam ceiling ¥ 
with its rich ornamentation. 

An enclosing wall with arches surrounds in horseshoe form the 
building, and opens on the garden with fishponds and fountains, 
which at the opposites side again ends in a secicirecle. At the 
other side a connecting passase leads from the chateau, consis— 
tins of open arcades and a roof story, to the farm court, that . 
exhibits an oval form, really two semicircles, that are connect- 
ed by projecting rectangular structures. The semicircle toward 
b 


# 


* 


thas chateau contains open arcades in the lower story and services 


ei) 


goons, enidne 
pats sofaedxs 


\ parol oivaiss 


“wonseedis 738 
abiver Ex Br cf : ipORE 


ee “aA sd 
Aol evieole Xa Bi 


Prpan ae he ims 


Beltngige axe 


prensa, otieti- 
Sehintecat e 


A ae ’ rime eh Oe a why A ae ee I ik 
L a Morey es Ye rN sot ie ne 
4 ~ T) ‘ 


239 SS 
decllings in the attic. The other semicircle merely consists of ~ 
an enclosing wall, that is broken at the middle by the entrance 
Satemay. Halls like a fortress are arranged in a rectangle and a 
are surrounded by wide moats, extending around the sntirse group yl 
of the chateau and garden. The architecture of the exterior ig 
absolutely monotonous and without a vestige of artistic forms. .- 
We mention the wonderful building only because it is character- 
istic of one tendency of the tima, and otherwise speaking with 
du cerceau, “more for pleasures and change than anything else”. a 

81. The gardens of the Renaissance. : il 
Wea should now only possess an imperfsct picture of the French 
Renaissance chateau, if we did not slance at the sarden designs. 
Wherever space permitted, the mediaeval castle already possessed 
a garden, in which besides kitchen vegetables and fruit trees, 4 
it has flower beds of roses. and lilies in particular, alleys nf 4 
grapes, trimmed Lawns with shady trees, sometimes with a fish- 
pond and a fountain, if space existed. In the gardens strutted 
peacocks and swans were reflected in the fishpond. Under Gharl- 
es V the accounts of the Louvre mention one “J. Baril, maker 
of vine arbors, for having made a great lawn in the said sard-. 
ens and mads ofewood a lozenge entirely around it, with fleuar- 
a@-lis and batthements”. Still the space for such arrangements 
was always restricted, life itself was too unguiet and warlike, 
the care for fortification and defence was t00 exclusive to af- 
ford for those gardens & sreater importance. But in the 15 th 
century when the feeling for nature was ever mors strongly ar- 
oused, and found in art an animated echo, when the Flemish mas— 
ters first released their forms of saints from the golden srou- 
nd and placed them in the midst of the blooming Life of spring, 
then also garden design became an object of artistic study, of 
aesthetic treatment. It is characteristic of the enhanced feel- q 
ing for nature of the time, that we so frequently see im the m 3 
most charming paintings of the masters of the 12 th century, & ‘_ 
that the Medonaa is sean as represented within a hedge of roses, 
and that in all pictures a ground of natural lawn sprinkled wita — 
flowers extends beneath the figures. — 
But also here the decisive impulse vas given by Etaly. Already 
in the campaigns of Charles VIII against Naples the chroniclers 
were enraptured by nothing more than the magical gardens of Ttabian 


ul a e546 bd 
~ ae 
een 


€h 


bet so4 083308 fo ne 
ase bes1o sedi 
“fo qdaced ed? to s10 
“io fie ge dtectsene 
epoldaeg ctikw ack 
grinelic® edd Bev: 
200 edt Yo yiiat tory 


j ie Bosd en0 eat 


= 


er cobb edt 4 EY Ey 


noite: nek: eit oi 


“eae. ‘bubo? ei yin 
: sent Eatieb: 2 ef? 
3 exoolt ¢ 
Ric Peairiien 


hina 
2: vt! 
‘od 


240 
villas, The nobility of the garden of Possio reale captivated 
the king and his cavaliers mors than all other creations of art, 
ind likewise Jean d’Autan speaks with rapture of the beauty of 


saus the arrangement of the gardens was cared for with particu—- 
lar energy. In agreement with this may be observed the following 
Sround principles in all changes. The close vicinity of the cha- 
teau, i.e., of the livins apartments of ths master, is reserved 
for the arrangement of a bed of flowers, so that one not only 
enjoys the view of them, but could also quickly pass into it by 
a flight of steps. The arrangement of such steps as a connecti- 
on with the garden is expressly prescribed in the documents of 
Fontainsbleau, for example. Characteristic of the sentiment of 
the time is the severely symmetrical and regular treatment of 
this bed of flowers, that was even retained where in building 
a chateau restricted by older parts, the regularity and symme- 
trey mast be omitted. Gaillon pressnts a notable example. The 
separate flower beds have varied designs, not merely in rytha—- 
ically animated ornaments, but in all sorts od sports with in-. 
itials, emblems and devices. In the varied ornamentation of 
this infinitely varying world of form, that on the one hand ~ 
recalls the patterns of glazed floors, on the other the decora- 
tions of the ceilings, the loves of ornamentation in the Renais— 
sance again retains its inexhaustibility. gommonly is found one 
or even two of such beds of flowers as labyrinths or dedaluses 
a8 then called, a shape that refers to the mages in the floors 
of mediaeval churches. What there designated to the penitent 
needing indulgence as a reward for his pious penance, here ob= 
tained the character of a merry sport. Such labyrinths are shown 
in du Cerceau in the garden of the Tuileries, and they occur in 
doubled designs in Gaillon and Montarsis. 

Hor a better oversight of the gay entirety, an elevated terr- 
ace extended around the flower ped, connected with it by a fli- 
Sht of steps, and sufficiently broad to serve a festal society 
aS 2 promenade. Of the care with which these parts were also f 
furnished, the building accounts of Gaillon afford numerous pr- 
oofs. Particularly the pavements receive rich patterns by glag— 


ed tiles of varied colors. A fragment of such pavements has been 


found at Anet in recent times. As @ Puls the terraces were ext— 


A 


the parks of Pavia (S. 1). No wonder that henceforth at all cha- 


coving 926 soneans ii athaw vd 


Le deed | ‘pide al ine wmevoo yd 2 sable f iperes 


cm TA oe £ ei 
pee ak dt 2D eecbesome? 


Bet 2649 este Les bexevoo ~é bbe 
Bont to eibbie eds ac ido 2 
“2 aa e pe noted ii: =. tates 

bea te pees a! 


we i 


% ea 8 ag 


4 oe 
‘ 


- 
SUA SUNS 


ee, 
tL Adperd a Sere 


ont Bist. bnete 


jones 2 slabs 
‘ al a rs ; i 
: - =a 88s ‘ge Bad * es : 


:.. 


‘to. e5 gaktfen: vol 


: AP 
a 


r* a ae 
wn see bea: 


. | Vx rs in -. 4 Ley iv ; SP ot ie 4 
: 4 
: : ora! 


241 
externally enclosed by walls, but already early they were surr- 
annded on several sides by covered arcades, to obtain at pleas- 
ure shaded or sheltered sunny promenades. Already in faillon two 
sides of the garden are enclosed by covered galleries, that ter- 
ninate at pavilions. Thus were obtained on the middle of the ¢ 
garden spaces for quiet retreat and peaceful meditation among — 
the most beautiful surroundings. Likewise it is seen at one side 
of the gardens at Vallery and Chantilly, and in yet more compl- 
ete manner at Aampierre. But the most beautiful example offered 
by Anet, where at three sides the great garden was surrounded 
by Salleries with arcadss in rustication, which as du Cerceau 
says, “Sives to the garden e marvellous splendor in the view”. 
Sometimes were connected therewith little oratorios, like the 
still Gothic chapels in the garden at Bury and at Gaillon. Like- 
wise at Blois, where a long covered leafy alley extends from the 
chateau around three sides of the garden and finally ends at the 
chapel. On the contrary we later see de l’Orme erect in the park q 
of Villers Cotersts a chapel in severe antique forms. A breath 
of peaceful reverence of nature misht play around this little 
oratorio is such surroundings and harmonize the recluse in the 
collection of his courage. | Ml 

Bus also otherwise is care taken for shady walks. Light wooden — 
galleries covered by ivy or grape vines are distributed in suit- 
able arrangement between the flower beds, either crowninm the @ 
middleof:thexlawn or extending alongs tts sides. And these are 
not merely the modest structures of lisht vine trellises of bent © 
strips,for the roof Like a tunnel vault, but the art of the car- 
sm soon elevates these structures to higher importance, Si~ 

s them the forms of stone construction, so that the long gal- 
was are interrupted at the ends and the middle by raised pa-— 
vilions. The most beautiful example of this kind was at montar- 
gis (Fis. 108); others were seen at Verneuil, Charleval and 
Beauregard, here in severe antique treatment with entirely str- 
aight entablature and gables on the pavilions, on the contrary 
more free in expressive wood construction at Bury. a 

There prevailed in this nucleus of garden plans the merely ar- 
chiteotural principle, and so appeared in effective contrast t 
thereto the broad enclosure by extensive parks, in which greater © 
freedom was allowed to rule all nature and all vedetation. Ind- 


a f J p AD ; ’ 
BER AE 
est att tr ‘Saonone ta) eit Sse! 
cay rae ine aft c ‘ot vis: + Hewerbs soest tf 


ta» £ "D bang st 
4 Aw teeeey ae ak 


St dew Bist 


o> > oe 
@ Se 


ae 
a Siingoetisozs 
‘ges vere eLbb im 
iEistnebiocs has 
“sdustee wiods of co: 
; ‘edeentgne olinerhys 
‘ as @eisetaensnto Sevan! 
# Botend ieaecT to eonsia' 
eC ‘Bebhtss aaz sot entavan 
iis phones? sinvodosa + 
(Baw atseres 6B nt bere 
ead at aissanc’ 
<08 gedto Matha cncions ‘ore 
Spud ad son.le 
heen 2 gtots OR 
un ie WA te 


‘weno eR 


wee fw ee DO s 


Boe. ds 


Ser 


bot: 


onan ¢ 
Wp ae femele bedss 


< ad 
ea? 


fa 


30 fad ae tiger 
edt sted sate 
ptetretiss > bac 
ebstosge te qaen cosy cf 
baa sis feet? : . Sf é a 


ee 


v Aya. S 2 


242 

Indeed the fruit orchard witha its lawns and regularly spaced f 
fruit trees adhered firmly to the law of symmctry, but still 
formed a transition to the freer movement of the great leafy 
masses of the adjoinins park. This was itself intersected in all 
directions by broad alleyu of trees, with its lawns and shrabb- 
ery finally formed the transition to free nature, with which it 
connscted the cradSion of the human mind. 

fo these two slements of vesstation and architecture was join- 
ed a third and no less important factor, In the middle ages men 

st utilize in this matter what nature freely and accidentelly 
offersd. But the architects of the Renaissance in their scient- 
ific trainings were at the same time skilled hydraulic engineers 
and knew how to give the garden an animated ornamentation by 
flowing water. In Gaillon we find P. Valence of Tours busied in 
conducting water and plannins the fountains for thse sarden of 
the court of the chateau. In the building accounts Francis I 
expressly remembered the fountains arranged in S. Germain and 
Villers Coterets. The Isast least requirsd is s fountain in the 
middie of the garden lawn, which is there transformed often in- 
to 2 comfortably cool and half enclosed place by 2 light ‘wooden 
pavilion enclosing it, as in Gaillon and Blois. Where the unus- 
ual width of the garden requires it as at Anet and Chambord, two 
fountains are placed at equal distances. Richer waterworks with a 
grottos and cascades scarcely occur in this time. Only at chen- 
onceau end at Gaillon are found examples, yst both ars only from 
the second half of the century as additions of a later tims. 

Phischuchcmorevattive part ccchrted forsthbss elements, owhére 
thes victnityvofea reveryaffopded: water: jnorichercabundancetsfhen 
botomerelyiwasigccanai bxtendedtasoind:theosardeny but sometimes 
énofrequent népebitionitheblife=sivingiclementlintérsécteds théy 
garden by parallelcobranchés, as°in:thecmagnificent arpangémenbé 


oe eter 


Vallery and at the white house at Gaillon. Whers the water thus 
gurrounded the garden on all sides, men there sought to brings 

it directly near the syes of the observer. Therefore here the 
enclosing walls were omitted and instead of closed salleries 
were arranged lisht leafy alleys through whose many openings was 
visible the surface of the water, bringing fresh air and a ple- 


ip) yo. 2 re ay a: 
fetta. vet xe fap’ ave ws5° ofat teentcoo trarass 


i” 
Ooo ot fos afl te ream) ee 
StISigGTZaU FB eee 


eve fr wha tad ade Lee ie me 
i SA Fe hy et wi 'S , 


e +e 
nce sin & ow eet, 
eoL Luv Hears i We) we ‘$f 


leuedanaed « 
ab as peaidentess 


id ck vo. sbeeasc 


“a 


vie 
eateas003 baithadge 


as rs ~? 


faemano Siw. O10 
oo. ec3 


or? ne ie eth od 
Bees hI od 


ai ws 
. 5 on a & Ps 
? “> ‘¢ a Li y se 
t : Py aA 
b > 


pleasant coolness into these PAM Rie otherwise easily damp. 
Thus it is seen at Dampierre and at Chantilly, but especially 
at Verneuil, whers the water plays a direct part in the well 
branched canals, basins and great fishponds. On the other hand 
sculpture more rarsly coes to aid, which in Italy wins such 
promingat imporbance in the gardens. Only at the hermitase 
at Gaillon is made an exception, and in Fontainebleau in du 
Gereeau the Diana of Versailles occupies the middle of the 
‘smaller garden at the south side of the chateau. 
Tndsed the most perfect, that the garden architecture of 
this epoch in France produced is the garden of Verneuil, that 
we have described in S. 75,in the description of the chateau. 
Fis. 109 exempts us from a more extended explanation. Moreover 
the utilization of the rising sround produced important effects. 
Remarkable that it is exesptionally arranged according to t | 
the irregular form of the chateau (dating substantially from 
e middle ages) is the garden of Montargis. In a wide semicir- 
le forming two concentric wings, the inner one surrounded by 
be 


encloses the building within a great arc. The two labyrinths a 
of the inner garden were already mentioned above as well as = 9 @ 
the magnificent double gallery, whose woodwork had @ coverings 7 
of ivy, partly represented in Fig, 108. With the rich flower 
bads alternate alleys of grapes, mowed lawns and fruit treet 
of all kinds and meadows, far intersected by alleys. Rene of 
France, daughter of Louis XIy and wife of Hercules of Berrara, 
caused this garden to be arranged, when Montargis was assigned 
to her as the seat of a widow. 

Of unusual extent wers the gardens at Blois, to which one p 
passed from ths chateau through a concealed passage over the 
treet. The main portion consisted of an area 600 ft. longs by 
250 ft. wide, surrounded on three sides by a wooden sallery, 
that ended at a pavilion and a little chapel. In the middle of 
the garden a doned structure rose over a paniing fountain. Fur- | 
ther at both sides were two other gardens, one with ornamental ~ 
flower beds surrounding a fountain, the other intersected by 
alleys of trees and by two shady galleries crossing it at the 
middle. Du Cerceau says:- “There are beautiful and grsat gard- 
ons, differing from each other, some having wide alleys around 


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244 
them, some covered b: carpentry, others by trellises for shape 


vines. 

By a Sreat abundance of nater is characterized the plan of 
chateau Dampierre, where three gardens ars all surrounded by 
canals and wide basins, and connected together by bridges. The 
middle bedsignin the akis of the chateau and is constructed on 
an island, extending in a triangular point, that is marked by 
threes pavilions. covered galleries with open arcades connect 
the pavilions and surround the entire garden. 4long the .canals 
extend wide shady alleys with double rows of trees at all sides. 

Also the garden of Anet is large and regular with two fount— 
ains, and as we have seen, is surrounded on three sides by sal- 
leriss with arcades, was enclosed by water, which at the extr- 7 
eme end formed a great semicircular fishpond. Here was arranged 
® bath house, from whese rooms steps led down to the basin. E 
Blswhere were seen mowed Lawns with fruit trees, flower beds, 
fishponds and dog kennels, all ssparated by canals and border- ~~ 
ed by alleys. Also aviaries and orange trees were not lacking. ‘ 

Likewise Chenonceaux was distinguished by a rich garden arr-— 

ansement, in which a developed system of waterworjks came into 
use. At the right of the euwtrance to the park was seen a rock 
grotto with cascades surrounded by a water basin. A terrace q 
with flowers enclosed this and further above was placed another 
terrace, that was covered by leafy alleys, whose enclosing wall 
was adorned by niches, columns and statues as well as benches ~~ 
for seats. Also for surprise tricks was the water already emp- 
loyed here, for in the middle of ths smaller garden was placed 
an opening closed by 4 wooden plus. When this was drawn out 
unseen, a jet of water rose 18 ft. high, “which is a beautifal 
and pleasing invention”, says du pfercean. 

But the greatest diversity was shown by the gardens at Gail- | 
lon acco aie to the embellishments, which cardinal de Bourbon 4 
added ods the originally very rich plan. Here the hilly site aw 
was connected with the various gardens, and care was taken that ~ 
the view always comprised the lovely vallcy of the river. At a 
tolerable distance from the chateau and its sardens, the card- 
inal had caused to be erected a Carthusian monastery, to which — 
one passed through the park on terraces and through covered 
and ascending alleys with trees. He came first to a chapel that 


a 


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245 
was connected with a little dwelling an a hermitase plaged on 
a rock, enclosed by a rectangular basin of water. Beside this 

ay at one side a little enclosed .flower garden with alleys 
and covered passages. Around the area rose statues three or J 
four fest high on a number of pedestals. On the other sides of 
the hermit’'s grotto one passed to an extensive basin surround- 
ed by a broad terrace, to the so-called white house, 4 pleasu- 
rs house of the most luxurious design surrounded by water. It 
contained in the sround story a great hall opening by arches, 
adorned on the closed wall by noches and caryatids as well as 
statues, besides. being animated by three basins with. fountains. q 
A stairway at the rear led to the upper story, which was’ divi- 
éed into several apartments. 4 platform with open balustrades 
-afforded a free view of the whole. oie 

Nowhere does the gayer life of the Renaissance become so pre- © 
sent to us,as when we attempt to restore again these masnific- 
ent garden designs from the drawings and descriptions of du ~ 
Gerceau, and we enliven them by the splendid, intellectual and 
proud socisty of those day. 

82, ity dwellings in Orleans. a 

The srection of the citizens’ dwellings in the cities oeubkay q 
ued in this epochin the path previously struck out, not merely 
for the form of plan, but also for the treatment od the facades — 
did the sarlier developed principles prevail, except that the 4 
chatcater of the forms in detail follows the stamp im vosue-at 
this tims. From the beginning of the spoch we mest with a nom 
ber of city residences, whose architecture bears the impress” q 
of noble, quiet and classical purity ef forms. Gradually then ~ 
also here the endsavor for simplicity and grandeur leads to: 
severity and even to dryness, in which are mingled alse soon | 
certain elements of @ capricious and Barceco treatment of fetails 

Orleans is also still rich in interesting private buildings, 
fe begin with the so-called house of “iana of Poitiers, thas 
bears this name with as much right as the ealry mentioned house ~ 
of Agnes Sorel and of prancis I, or rather of the duchess of © a 
Rtampes. It exhibits that dignified arransement, which contei- ~ 
ned in the ground story clnsid wall masses pierced by a few 
small windows instead of shops. Likewise the upper storics | 
have large wall surfaces beside the sreat windows, thereby anita 


eS 


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246 
character of sarnestness ¢ns quiet, of dignified seclusion. In 
the principal story the windows are enclosed by their frames 
and a flat arched sable cap. The latter contains a little fen-— 
ale bus&. Slender Gorinthian columns are fluted for two thirds 
and subdivide this story, while in the upper,short bordering 
pilasters of the same order are placed at the angles. The nid 
dle window of the upper story is circular and enclosed by int- 
erlaced cartouches. The plan of the house follows the arrange— 
ment usual in Orleans; as always. in thésecnarrow buildings, t 
the entrance lies at one side, a passage leads to the stairs 
and the court, that is here made more spacious and is treated 
with more stately architecturs, than is usually the rule. 

To the most attractive buildings then belongs a narrow house 
located on the poultry market, which is designated as the "how- 
se of J. d*Alibert”. This prominent leader of the Protestant 
patty of Orleans must have built it, and have held there not 
the first assemblies of his fellow believers. The facade is n 
narrow, opened in the sround story by the great arched opening 
of the shop, beside which is the ornamentally enclosed round- 
arched portal, above it being a charming little coupled windon 
on little columas for lighting the passage in the house and 
flanked by hermes resting on masks at the angles. The two upper | 
stories exhibit fine Corinthian flanking pilasters and sreat ; 
rectangular windows with crossbars. The corridor is expressed 
in both stories by small arched windowr with slesanté architra- 
ves. The uss of masks and folé#ase scrolls, the borders of int- a 
erlacing cartouches, the magnificent lions” heads on which rest 4 
the pilasters of the second story, indicate the epoch from 1550 ~ 
to 1566. 

There is further to be included here the so-called “pavilion 
of Boan of Arc”, which denotes ths transition from the chose a 
of the time of Francis I to the spoch of Henry II. It is a pa- 
vilion like a tower thet adjoins an sarlier building as a pro- 
jecting part. On a plinth of pointed rustication it rises in 
two storiss, above which the high walls indicate that in both © 4 
mere vaulted. Tablet as if for inscriptions is inserted and ; 
adorned by festoons and masks, animating the great surfaces. q 
Plain Ionic pilasters effect the division of the masses in the 
lower, fluted Corinthian in the upper storya In the interior 


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247 
the tunnel vaults of cach story ars covered by a sort of arab- 
esques in relief, in which the noble plant..life of the earlier 
arabesques is suppressed by the exuberance of tendency to fig- 
ures and at the same time by overloading with fanciful elements. 
That is always the death of the true artistic arapesaue style. : 

Severely and nobly executed in the classical spirit is the , 
so-called house of du ferceau. Located at a corner of Rue des 
Hotelleries, it exhibits a compressed anf nearly square plan 
(Fig. 110), that arouses interest by its combendious arrange- 
ment. fn the Sround story is placed a great corner shop, besi- 
de which on,y remains space for a narrow passage. As usual this 
ends at the windons steirway. A living room with fireplace lies 
behind the shop, and there even remains room for an indesd sc- 
anty court with a well in the corner. A view of the noble pii- 
aster architecture, that subdivides the entire facade, is given 
in our Fig. 111. We need only add, that all forms are treated 
with full understanding and in the highest refinement. 

As models of an entirely plain but monumental treatment, we 
mention two houses, that exhibit in the ground story ashler 1 
work at the angles, belts and enclosures of the windows, other- — 
wise are of bricks. One with an interesting devilopment of the 
shop in the ground story, with hish rectangular windows with 
crosses in the upper stories and with a bold and simple cornice _ 
on consoles lois at Ho. 3 Rue du Chatelet; the other likewise : 
with 2 shop is somewhat more stately, and more slender propor- 
tions and more richly ekecuted, its forms indicating the later 
time of the century, and is No. 1’ in Rue des Hotelleries. 

88. City dwellings in the northern provinces. | 

Normandy also in this epoch has its part in the architectural | 
movement, and although the energy and richness of the earlier: 
epoch is here notably reduced, there are still not wanting der- 
tain distinguished examples of the citizens” private architec- 
sure. We begin with the magnificent house of &. Duval in gaen, 
that forms a transition from the epoch of Francis I to that of a 
Henry II. & Duval wes one of those great merchants of the 16 Ss 
th century, who by commerce with the world attained pawéicandt— — 
wealth, and was strongly affected by the artistiecnatere of the | 
time, sufficiently to give a monumental expression to his pos- © 
ition in life. He was ennobled by Henry IT in the ysar 1549, — 


ay te 


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248 
and erected for himself a magoificeot residence in Caen, in 
which he died in 1578. 

Only a portion of his house remains, still enough to show 
the importance of the whole. The existins part oni the’ ground 
story consists of a sallory 15 ft. wide and 34 ft. longs, open-— 
ed at its ends by great arched portals, at one side by three — 
gteat arches, the middle one hishsr than the sides. 411 here 
to the smallest detail is treated in the classical manner... Ths 
arches rest on well profiled piers rising from a common high 
plinth. Bold Gorinthian columns with broken entablature pro- 
ject froc them, and an cleSant cornice with consoles terminat- 
es the sround story. | 

The upper story contains in its entire extent a great hali, 
closed at two sides and furnished with two fireplaces, at the 
two others being an end and a side, opened by arched windows. 
These are in pairs over the small arches, grouped in threes 
above the middle and end: in the last the middle window is 
hisher and is flanked by pilasters, while the sufface above 
the side windows is decorated by an imitative balustrade in 
rather eccentric sportivemess. On the contrary the double win- 
dows have a suitable architrave and a common antique cap, on a 
which wonderfully enough appears a reminiscence of Gothic -croc— © 
kets. Likewise the dormers evidence in elevation and ornament, 4 
that the architect of this buildings could not entirely rid 
himself of the ratBer dim and confused traditions of Gothic. | 
At the end of the buildings a rectangular projecting tower crow 
ned by an open lantern contains the winding stairway to the 
upper story, that one can reach only by means of a balcony 
projecting on consoles. Corinthian angle pilasters form ths 
angles, in harmony with the columns of the lower and upper 
stories. 

We find the more developed style of the time on a house of». 
Rue Perciers at Rouen, which belongs to the end of the epoch 
and bears the number 1531 of the year. Like most houses of the 
mediaeval city, it is small and narrow but is higherThe ground 
story entirsly opens a5 a shop in tasteless wooden construction, ~ 
Also the two upper stories are entirely pierced by wiydaws, af 
ahich the two outer ones are rectangular but are enclosed by 
architraves with segmental arches, while the two inner ones 


| 


A 


il Andy ape Le rye ne Am i 
as hetaceqse 614 sterseesend <f 
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setae y 
Ve 


fat senod 


249 
have no enclosures, but are separated by a pilaster entrrely 
covered by ornaments. Also elsewhere over and under the wind- 
ows, the already very fantastic Baroccs spirit of the end. of 
this period is expressed in masks, cartouches and other arnaments 

From the middle of the 1o th century dates a house in Rue 
du grand cerf in Chartres. Aécording to an inscription on the 
facade, it was built by Dr. C. Huve, who informed his fellor 
citizens in Latin,;with a small doss of Greek, that he built it 
with regard to the ornamentation of the city and posterity. T 
Tha building is small and thereby makes an impression of habi- 
table comfort. Over a wide corridor with cross vaults, that 
narrows toward the rear to leave space for the stairs, one pas- © 
ses into a court likewise enclosed by the buildings at the rear. 
To the raised ground story leads a flight of ramp steps. The | 
front part of the house has a larger front room in the ground 
and the two upper stories, beside whilh is a chamber next the. 
court adjoinins a little cabinet. To this is added in the up- 
per stories also a room lying over the wider part of the lower 
corridor. The facade of the little building remained unfinished, | 
It begins in a magnificent way with the great portal, that like © 
a triumphal arch is enclosed by fluted Gorinthian columns and 
boldly projecting entablature,with cornice on consnies. Above ~ 
this on a rich parapet sid the tablet for the inscription, q 
rises a great window af the second story, again enclosed by 
Corinthian columns, that pace the enteablature with an int—- 
ique ia -. Tn the upper story are caryatid hermes, on whose 
heads rests the entablature and a boldly profiled arched Hable, 

e a surfacss exhibit a mixture of bricks and ashlars. The | 
remainins parts of the facade, as the sportive forms of the & 
duane prank and the much smallisr woydows --- there -are ._ 
here three full stories on the’itwo upper stories of the new : ; 
portion, --- show the remains of an older building of the ear- 
ly time of Francis I, to entirely transform which means were | 
indeed wanting. The building is mentioned ar bisa: existing 
in the year 1559. R 

On the extrsme border of this epoch stands a house in Rue d 
des vergeaux at Amicas, which from a figure on its facade has 
the name of “house of the archer’, It was built in the year 
1593 by the duke of Mayenne, general of the league, whose arms 4 


it bears. fhe 


| 

oh 

7 Ay 
* seep oe 7 


ep uss a, ak ry BOS 
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a oft 
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ea. 


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ri £E me ra 


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gest d hotetooeh ¢ 


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ie be Ph CR Serr. 
\ 


250 

The facade is so richly covered by ornaments, that it competes 
with the most luxuriant creations of the early Renaissance, a 
and although ths scais of the separate forms is not in propor- 
tion to the modest dimensions of the whole, this richness makes 
an attractive impression. Hence the master of this work did not © 
avoid caprice nor naturalish.én the ornagents, he has rejected 
the proper Barocco, i.s., the scroll work of the cartouches.. 
He seems to have drawn his inspiration from the works of the ' 
sarlisr epoch. That is true, even if. as probable, we take the 
sreat pointed arch, in which the ground story opens with its. 4 
shop, as the remains of an earlier design. Meanwhile the arch- 
iteave of this arch is ornamented by elesant flutes in the fi- 
nest Renaissance taste, Seated reliefs of forms of female vir- a 
tues, sntirely enclosed by emblems and foliage, fill the great 7 
surfaces of the spandrels, and at the angles fluted Boric pil- ~ 
asters form the enclosures. Not entirely in the Gothic sense 4 
sven if also in antiqus forms, ars treated the canopies of the q 
little statue niches between the afches. The two upper stories 
exhibit depressed proportions and broad, low windows with flat 
arches, Ionic pilasters in the first story and Gorinthian in 
the second, all fluted, with magnificent scroll and leaf orna— 
menton the friezes and in broad masses over the windows, the 
latter further surrounded by extremely elegant sculptured.mem- 
bers, and the uppermost windows are crowned by broken Sables, At 
the whole of a more lavish and noble luxuriance. ‘ee kee nS 

Theres must also the gate Montredeau of the year 1531 be emph— 7 
asiged as a certainly mutilated, though crarmins structure of 
the early Bimej,cwhich in two stories is adorned by elegant dec- © 
orated enclosing pilasters and by numerous salamanders as evi- 
dsnces of the time of its origin. ’ 

Bold and animated, full or originalitw is the little facade 
of mansion de Valuisant at Troyes, which was built in 1564 by 
a rich citizen, A. Hennsquin. Two round towers flank it, bet-  ~ 
ween which a stately double flikht of steps leads up to the 
raised ground story. Pilasters subdivide the surfaces, and a 
Sallery with balustrade terminates the building. Hn the dorm- 
ers with their caps are still noted Gothic reminiscences, in- 
desd in stronger caprice. In the ground story lies a great . 
with magnificent fireplace decorated by corinthian pilasters — a 


= , ; TA A 
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ae ie betes? ered cacio yd bob 
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tis. oat. paver setts (led wilo ee od. bshbs eexta te 
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detect? eos of stem eSecled tnemdetas evict ceveliees - 
0%: ‘doetcsa eamuloo eat .foodoe donast edd od asdt 


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201 


and painted wooden paneling. 

A stately building from ths besSinnins of this epoch is then 
the house of the family Feret de Montlaurent at Rheims, built 
by 8. Feret under the eeign of Henry II. It has a magnificent 
court with arcades on coupled columns, between the arches being 
niches with statues. The windows are rectangular and are divi- 
ded by cross bars. 

84, City buildings in the northeast provinces. 

In the northeast part of France, that in great part orisinal- 
ly belonged to Fitnders and only came late to France, there p 
prevailed a trsatment of the Renaissance forms, that in its 
dry freedom does not allow the Flanders stamp to be mistaken. 

Of such a kind is the Balley at Aire, a charming little build- © 
ing surrounded at two sides by porticos on slender columns, j 
over mhich are Flanders*hish upper stories in brock and cut 
stone, with ogee pointed blind arches above the windows in 

spite of the date of 1595, and as a termination of the facade 

is 3 rich balustrade with luxuriant reliefs. A polygonal ae 
balcony lends to the building a special charm. a 

There especially belongs here the new wing, which the city 
of Arras added to its city hall after 1573. The city was flour= . 
ishing by commerce and industry, was particularly famous for 
its artistic fabrics, and had restored since the besinnins of 
thecesntury (1501-25354) its city hall in Gothic style. After 
a short time necessity demanded an enlargement, the master M. 
Tesson was entrusted with the erection of the new wins. The are a 
chitect did not intend to bring his work into harmony with the 
older, but to compete with that in splendor and state. a 

fhe new wing consists of a facade of three wide window syst-— iq 
ems, that were separated by coubled columns from each other. j 
(Fis, 111). In the Sround story ars Doric of that usly forn, 
which composed the shaft of alternately plain drums and of - 
bosses. Likewise the wide triply divided wondows with cross 
mullions in the ground story enclosed by sépagate fasticated 
ashlars. This treatment belongs more to the Flemish-German 
than to the French school. The columns project stronsly on 
projecting bases, and support a broken entablature with a a 
Gouble frieze. | 

In splendid fichness over this rises the second storw, sub- 


er 


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Beat he ; ” 


252 
subdivided by coupled Corinthian columns whose lower part is 
decorated by masks, hermes, flowers and scroll work, while the 
uppsr portion shows fine flutes. Extremely magnificent is the 
frieze adorned by tosettes, masks and lions’ heads in ornamen- 4 
tal medallions; likewise on the base and the entire parapet a 
are employed human and animal heads, and over the broad triple 
Windows extend scrolls and leaves as a light crowning. 

The uppermost story is in the same spirit, only somewhat nore 
modestly decorated, but its original character is injured, as 
the spirally fluted columns that covered it have been removed. 
An attic with masks in boldly profiled medallions forms the 
termination. In spits of the strongly Barocco elements, this 
work is preferably Gi tinenyeiee by the almost overflowing . en~ 
erdy of the treatment. 

A later fabiower with a. strong Barocco coloring is the exch- ~ 
ange at Lille, built in 1651 by master J. Destre. The dry rus—- © 
ticated pilasters alternate with hermes and sive the two upper 
stories the powerfwl stamp, while the high roof with its mans-— 
ards, certainly like the ground story is uo longer than its 
original conception, but effectively crowns the whole. The co- 
urt has in the ground story a stately Doric colonnade, above 
this being a single story characterized by high windows. - 

85. Qity dwellings in the southern provinces. 

In Languedoc, where already in the preceding epoch gs found 
an architectural activity, thoush not extensive, yet splendid 
in details, there also occur several important buildings. ‘; 

We first mention the stately mansion d’Assezat at Toulouse, . 
that still stands on ths border of the preceding epoch and be=- a 
aps the number 1555 of the year. It is a brick buildins with : 
members in rich cut stone. It must apparently have been. built 
By Primaticcio for queen Margaret, that however is referred to © 
an unfounded tradition. Thres stories with coupled. columns, 

' Doric below and Corinthian in the two upper stories, divide tne © 

facade in a pompous manner of the high Renaissance. (Pig. 113). 
The windows of the two lower stories have crosspars, but the 
latter are strengthened by projecting volutes with fine acanth- 
us leaves, and are enclosed by a round arch, and truly fortis— 
simo ornamentation, that in the best harmony with the rest, m 

makes a sort of tipsy impression. The upper story has that triply 


< 


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253 

divided window, horizontal at the sides and round arched at & 
the middle, which plays a part in upper Italy. The mansion con- — 
sists of a main building with two wings, in whose rsentrant a 
angle at the risht rises a rectangular stone tower. The left 
wing has but ons story with a stately flight of steps. at the 
right side in the depth of the court is arranged a rectangular | 
tower with circular stairs, perhaps a remnant of an earlier 
building. We finally mention, that the windows of the ground 
story have caps already tendins to Barocco forms, and that the 
portal is anclosed by spirally twisted columns, rather rich 
than pure. ce tiers 

Here further belongs the palace of the capitcl of the same 
city, magnificent though also somewhat Barocco, although always 
still massive and earnest. An extremely rich portal with vict— 
ories over the arches, luxuriously enclosed by doubled pilast- 
ers and half columns of the Ionic style, supports 4 convex fr- 
ieze, above which ars added figures of resting sphynxes and of 
fettered slaves, with @ similar system of Corinthian pilasters 
above them. Between them opens a niche with a statue of Henry 
iV. The building was begun apder Henry II and was probably but 
completed under that prince. The architecture of the court like- 
wise belongs to an earlier time than that of the facade and in- — 
dicates an architecture, that knew antique forms but superfici- — 
ally, as if by hearsay. Wonderfully enough a system of shorter y 
Doric pilasters is intersected by slended Corinthian columns. 
Also singular are the three low attic stories decorated by hea= | 
ds of cherubim and leaf scrolls, by which the entire upper wall 
is divided toilsomely. Tae portal that opens into the court ez— | 
hibits elegant forms, not so conservatively treated as the out= 9 
er portal. In the interior the so-called hall of the little ce 
consistory is characterized by an ornamental net vault on Ren- 
aissance consoles and by painted arabesques on the walls. Bes- 
ides a magnificent fireplace, enclosed below by coupled Ionic 
columns and above by coupled female hermes, it has at the mid-— 
die a relief with cquestrian figure, above which is a termina- 
tion, a broken sable with sgenii and arms with crowned helmet. 

Still more luxuriantly is developed this southern style in 


oP 4. ¢ ies aly, 
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254 
and fanciful ogee additions, where occur all sorts of Barocco 
elements, namely prisms and other sgsometrical fisures and col- 
ored marble slabs, inlaid in the entablature, attic and other 
surfaces. | 

On the whole the impression is very much overloaded. The en- 
terior does not offer much, since space and means were wanting — 
for a more stately court. One first enters a narrow passage ~ 
court, that exhibits a modest architecture with pilasters. All 
higher architectural treatment is lacking in the second and 1 
Larger court; pretty is only a little round projecting stair 
tower, resting on the elegant corbel with festoons supported ; 
by cupids. j 

But the greatest masterpiece of this style is the so-called a 
“mansion of stone”in the same street and not far from the chu- 
rch of Dalbade. Here the facade is already a work of important, — 
indeed one may say of unusual cost, pompous and overloaded, but | 
as a composition heavy and almost disagreeable. Here occurs & 
the boastful system of the later Renaissance with a singles sys— © 
ten of colossal columns or pilasters --- Bere are gigantic Cor- © 
inthian pilasters with fluted shafts --- to lend the facade a © 
certain srendeur of expression, But while over the capitals by) | 
the broken entablature and a great frieze with consoles is ob- 
tained space for an upper story, there is more missed a percep- 
Sible substructure, and if it be also no less than Palladio a 
used, who gave the example of this arransement, it romains th- 
ereby no less objectionabls. A conssquence of this was the in- 
organic arrangement of the great double portal, that with its | 
projecting columns and widely projectins broken cornice awkw= 
ardl: intersects the colossal pilaster order. Moreover ali is 
done on this pompous facads, that might corrupt the judgement, 
for all surfaces are overloaded in lavish luxuriancs by an of=— 
namentation of strong plant forms, and even the great pilast- a 
ars have received at the heisht of the ground story a covering 
of festoons of flowers and fruits, trophies, emblems and masks, 
that is composed in the strangest fortissimo of thes style. rm: 
Rven the stone window mullions, arranged in cross form in the a 
principal story, are lost in decoration. particularly magnifi- — 
cent are the arms above the two portals, supported by pairs = 
od elegant female figures; all this like the entire ornamentation 


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205 
is executed with sreater virtuosity. But that the architect of 
this facade was rather a brilliant decorator than a stronecoeil 
poser is also pfoved by the heavy manner, in which above the — 
widely projecting main cornice he terminates the whole by a se- 
ries of angular and murved gables. “inally also a remark on & a 
the form of the portals; instead of being covered by an arch 
they have os broken polygonal covering, a proof how eager one .. 
was there for the new and unusual. . 

In the interior is found the nearly square court with wide 
and very stately arcades in front and at the left; but the pro- 
portions suffer by a certain heaviness and the forms of the I 
Ionic pilasters, a3 wéll as the rich ornamentation in Barocco 4 
extravagance. The surfaces are here also constructed of brick. 
Tn the wing lying at the rear a magnificent parccco portal op 
ens at the middie, flanked by mighty hermes, whose legs are 6 
enclosed in those wonderful cases, which were a favorite in t 
the French architecture of that time. As the dats of erection 
of the still imposins palace is siven the year 1612. — 

Particularly fantastic in form in this architectural style /_ 
in the house of the nurses at Narbore. The facade must be des- 7 
ignated as one of the rare examples, in which architecture fa- 
lls into the witty and the comic. A coupled window is flanked 
by female hermes, that with inconceivable fullness bear true 
and masoificent examples of mothers” breasts swelling strongly 
for show, and extend downward in swelled and almost Hindooll | 
forms, richly adorned by the acanthus. The same forms are rep- 
gated in @ still greater scale on consoles as a second enclos— © 
ure of the windows, combined with a richly decorated frieze w ~ 
with consoles, whose intervals exhibit lions’ heads with rings, 9 
from which hang wreaths of flowers. Tae elegant architrave for- 
ms the upper termination, together with a frieze with acanthus 
leaves and a richly ornamented cornice with dentils. kes 

The game incomparably magnificent cornice with consoles and 
similar splendid development of the windows, only without the i 
mother caryatidss is found én the house of chevaliers at Vivi- 
ers, Above an entirely bare sround story rise two upper stories 
with @ smaller half story as termination. The windows divided 
by cross bars are flanked by projecting Ionic and | Gorinthian * 
colums, over which a frieze with consoles and adorned by the 


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this splendia form became so Brest here, that beneath: thet ee 
dows of the second story were arranged similar sreat decorated 
consoles with medallions with busts in hegh relief in the int- 
ervals, in the middle being placed arms with crowned helmet. 
Betwesn the two principal ‘stories extends a relief frieze with 
combats of horsemen, and above the upper story is graceful fol 
iage secrool work. Even the little windows of the upper story a 
have their frieze with consoles. and forinthian colums, where © 
also occur caryatids and hermes, and to exhaust all forms nies 
spirally twisted columns. The crowning cornice is composed of 
three corbelled rows of round arches in a rather dry way. The 

wef nen was built about 1550 by Noel of Ss Albans, who appsar- 
ed as leader of Bhe Huguenots in the civil wars, and found de- 


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LOT Ri 
Chapter VIII. Secular architecture under Henry IV and 
Louis XIII. y 
88. Further transformation of snehdeenterel 
So entirely were the last decades of the 16 th century filled 
by division into parties and by civil war, that art could not 
frecly develop. Even by the accession of Henry IV to the throne 
(1589) the condition of disquiet was not ended for a long time, — 
and only in 15.8 with the peace of Vervins and the edict of W 
Nantes did the land breathe again after such long tumults. Bat 
the public conditions were so deeply unsettled, the financial 
poverty was sc oppressive, commerce and traffic so paralyzed, 
that greater quiet and continuous energy were required to heal 
such severe injuries. Such times were not suited to produces % 
that free harmony from which could arise the noble flower of 
art. Therefore if one compares the reign of Henry IV with the 
times of Francis I and sven of Henry II, then he acquires the 
impression of an earnest man’s years filled by work and care, 
that followed the joyful days of youth with their pleasures in 
the varied plays of imagination. Understanding and discrétion — 
now have ths supremacy, and while Sully establishes the finan—- 
ces again, while the king en@eavors with all zeal to clevate 
the condition of the citizens, and promote commerce and indus- ~ 
try, the beautiful must retreat behind the useful. Architect- 
ure has to solve those important problems, but these belong m 
more to ths latter than the former domain. It is chiefly the 
construction of roads and canals that busies the king; it is . 
the correction of entire places er citw quarters to sive 
the atnabease. of the capital light and air, to care for their 
llbeing and health. These are the aims now placed in the 
first line for architecturs. V¥e indeed haves to recognize the- 
rein an advance in the history of civilization, even if the 
higher esthetic solution of this problem remains still far 
distant. j . 
With such endeavors arisink for the commonweal, the buildings | 
of chateaus as the artistic ennobled expression of egotistic ‘g 
tendsncies passed more into the background. More extensive un= 4 
dJertakings of this kind under Henry IV were only devoted tot 
the continuance of the Louvre and the chateau of Fontainbleau, 
as well as to the new plans at S. Germain. In these works is 


Le) 
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aaa bas yiasyos atadves © nb feead al eins te cobgeb 
big .So2 ye ms dose 2c}. Tatsten 86 .poktooftes faao 
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258 

noted partly an adherence to the tendency of the preceding ep- 
och, but there partly developed from the already existing ear- 
lisr germs of a besinnins of a new mode of treatment. The foun- 
dation of this is based an a certain severity and monotony, 4 
cool reflection, as natural for such an intelligent and practi- 
cal epoch. Most characteristic for this tendency is the massive 
adoption of brickwork, that in the foregoing spochs still only 
formed an exception to the rule, But henceforth it penetrated 
into even the most important buildings, yest now without an ar- 
tistic development, or attaining anything anatogous to the noz- 
th German or the brick architecture of upper Italy. Rather now 
they retained the combination with cut stons, and every charac- 
teristic form, the angles, eaclosures ‘of windows, and belts were 
executed in asklars. These buildings with their heavy members 
and dark masses indeed make a sound and massive, but also often 
a gloomy and morose impression. But the ashlar work itself ch+ 


iefly assumes the character of rustication, with even more géen— 


erally than in the preceding opech appears and also takes into 
its domain the pilaster and columnar orders. In combination t 
therewith all forms are nore dry in form, the arabesqueés -and 


‘lighter ornaments are supplanted by heavy cartouches, but: esps- — 


cially the finer and richer arrangenents of the Gothic and st— 
ill more the Corinthian style are omitted in favor of a monot- 
onous Doricism. It is remarkable, that the Renaissance’ every— 
where, in Italy as in other countries, recedes in the same way 
from the rich and ornamental to the monotonous and dry, while 
the antique Roman art, as well as the Greek before it, develop- 


bab while the early Renaissance was so much devoted to the } 

‘ihe and the ornamental, that this tendency even went too 

n regard to ths great, and now the tendency to the sreat 
was reversed and the mesic and weishty assumed supremacy, - 
so that even wher the Ez SEz2E and ornamental were in place, 
these were transformed into heavy and swelled forms. 

However where men strive for the expression of richness and 
magnificence, this occuured by dry heaping and Barocco transf- 
ormation of the members, whereby broken cornices, broken and 
curved gables, intricate cartouche work, play a chief part. B 
Bat particularly extensive use is made of all sorts of affected 


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cath qiting £ eteagge cele eceds Be8eD fous He 
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peemcoed Foocsss1s to bom ekdd tot ovieiosd .VIX eieod 

. tag dmeticqm! to locses Lknoi¢ed = saitasom edt ni dai? 

2 eilt Beviteinces ss (et soonest Jeon secte ,Sorsct reed bad 

setoad ef 40 .gnoot of 8 <Snbisqueso- 2 .afesucd oh tes): 

5) 40d emsings: vode seedd Yo cokdesnonsase oft at Save 
pitesl edt sseqgevth non sretioe Bocage efas asbad 

\ Intdenog eet icqoacdedue fnbuet ne yrisvido olteswor 

enede bas ahaha ont. Yo sre edd ewcadttove seilecoke 


209 


decorations with which rustication was treated. It was often 
covered inijits entire extent by that play of lines like inter- a 
laced worms, to which were added various richer ornaments, fo- 
liake and especially laurel branches, even with emblems of all 
kinds. In the place of a clear and effective relief membering 
in such cases, thers also appears a purely picturssque ornamen- — 
tation, indeed produced by means of sculpture. 4 

On the contrary if a thorough architectural subdivision is 
obtained, then men aim at the same endeavor for sreatness and 
“majesty”, which had already produced the colossal orders in 
the preceding epoch. As a rule also a colossal order of pilas- 
ters is employed for twos stories as a characteristic. i. 

For the general arrangement of the buildings men also now ad- 
here to the main lines, that had developed from the national 
customs and opinions, excepting that sometimes more freedom w 
was permitted to Italian influence. Meanwhile the high roofs 
with their gables and chimney caps, as well as the pavilions 
and the picturesque grouping of the buildings produced thereby 
could not be omitted. 

The style here briefly described remains also in force during — 
the reign of Louis XIIT, but gradually adopts thse elements of 
a severe and also more refined classicism. Sarticularly is this 
true of the internal decoration of the rooms, where the wild ~~ 
overloading, thah had spread from the school of Fontainebleau a 
‘sinee 1550, gave way for a more massive treatment and more el- 
egant subdivision. ie ona inserted in sculptured frames,al— 
so indeed what added aapilaster order, then came into general — 
use end is aided by the richly carved wooden ceilings,- always 
treated with virtuosity, and whose panels likewise exhibit pa- 
“intings. These decorations contain the germ from which wers to | 


be developed in a consistent advance the style of the time, of 
Louis XIV. Decisive for this mode of treatment becomes the fact 


that in the meantime a national school of important painters } 
had been formed, whose most famous representatives Like S. Vo- 

ust, Ne Poussin, P. Champaigne, 8. le Suent, C. le Brun, oa 
ated in the ornamentation of these show apartme ts. z 

Under this strong current now disappear the last vestiges of — q 
romaotic chivalry and feudal autocracysyThe powerful hand of a 
Richelieu overthrows the great of the country and thereby ends 


bred on 
4 Bey Q.! 


7 
wm FD 
fb tet dy Be he AO 


ako an) rie or 


jogs 


My dj lle . 

Yo. 4 que esolila: 

t Dehal * Res alte wh 
5 


Wvaet nH sii 


vino 


ten Se) 


me © 
Sniness Soi 


TA sale 
aa 


260 
the few reminiscences, that still recalled the middle ages, 
The French circle of distinguished men now first receives its 
modern character and becomes an intellectual sccisty of the 
salons. Thereby also vanish in the designs of the chateaus the 4 
last remaining feudal reminiscences: the towers and even gene- 
rally the pavilions, the moats with their drawbridses, the pro- 
jecting staircases with their winding stairs, instead of which» 
stairs with straight flights ars arranged and are included wi- 
thin ths interior. Also in the arrangement anf connection of 
the rooms predominate the private and habitable character, in- 
dicating a society, more devoted to the interssts of peace, of 
art and literature, than to the rude contests of the hunt and 
of war. Even such an apparently slisht circumstance, that now 
the stone crossbars so longs dominatins the windows were exchan- 
ged for a wooden framework, is characteristic of the new spir-— 4 
it, which entered into architecure. ! 

87. Horks on the Louvre. . 

fo the first undertakings of Henry IV, after he had come inl 
to possession of Paris, belongs the further extension of the - 
Rouvre. The king desirsd thereby not merely to provods perman— 
ent employment for the artists and mechanics, but also for his ~ 


own safety, that always lay very near in those ever unquiet a 


times. Therefore he caused the alroady begun gallery for conn “7 
ecting the Louvee and Tuileries to be energetically undertaken 
anew and completed; and since the Tuileries was then still ont 
side the city and ssparated, from it by a wall and moat, he BUSt 
hopa by a covered connection with it to establish ¢ safe Lins j 
of retreat for extremes needs. val 

Under these points of visw one must first seek to join the 
buildings exscuted under Satherine ds yedici. The smaller gal- 
tery (4 on the plan, Pig. 85), which before then consisted on= 
ly of a sround story with a terrace, was raised by one story. 
Ghe long gallery (7), that likewise had formed only a ground © 
story, received an upper storw and also a mezzanine story to 
equalize the height. But at the same time in harmony with the — 
upper parts the lower ones were also furnished with the decor- 
ation which them still exhibit (Fis. 114). om 

On these works svidently ths view prevailed, to make then 
approximate as nearly as possible to the character of pescot’s: 


met, 


woe eae tk 


to er 


2 
t 
- 


“4 
t 
+ 
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hz 
4 
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ee 


Ps rr ere or 
ole em & 


ee 


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io ee 7 
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, 

: 
m oe 
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whe ed ool 
> & or 
~ 

Ld 


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iy 
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u 


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be: 


| 261, . 
inner facades, and at the same time to recall by certain prin- 
cipal forms the Tuileries of de 1°Orme. The last is especially : 
truz of tke pilaster system of the ground story, which is con-— ; 
binsd with fresly projecting columns at the prominent parts. 
This is the “French”order of de 1’Ormein the full ornamental 
splendor and charm of treatment, as it was already found on . 
the principal buiidins of the Tuileries. The richly dscorated 
rustication, which is connected therewita, corresponds to the 
artistic endeavor in the epoch in question. A luxuriant frieze © 
with foliage, emblems and genii (fig. 89) forms the termination — 
of the ground story. a 

Still richer and more elegant are executed the two upper sto- 
ca fhe windows of the mezzanine have fine pilasters, the ® 

wall panels between them have gracefully treated frames. A fp= 7 
ieze with lugurious leaf scrolls beneath a bold cornice slab q 
also terminates this half story as independent. Then follows 9 

the main story with its great windows, that lie so far apart,- 
that not Brg: for double pilasters, but alternatins with the 
windows still remains sufficient spaces for niches with statue 

Thereby as well as by alternating angular and curved pediments 
that crown this system of windows, the elongated building pro-= a 
duces the gmpression of rhythmic movement and beautiful diver- 

sity, all monotony being most happily averted. To us this fac- 

ade with its finely treated Corinthian pilasters, the group of 
trophies between them, the rich frieges with sculptured leaves — 
and the sculptures in the gables, appears as one of the most 
succassfnl compositions of the French Renaissance.: ©: 

This ae can on also finds an echo in es teeabaeal of the 
adjacent pavilion wes and the adjoining portal Lesdiguieres. | 
tas western half of the sallery denotéd nl 
Fig. 85, which with the part joinins the 
duces the connection with the latter. If thal 
siento with those ‘soko bes above, one would | 
scarcely believe, that both belons to the same time. And yet 

the Latter like ae former wers executed under Henry IV. If 
we knew something mors accurately of the artists, who were 
there employed, we should haves a starting point for explain- 
ing this striking contrast. The architect of the western gall- 
ery has indeed freed himself from the arrangement that dominates 


— 


# a, 


 -. 


oe 
\ a Aas 


Tas 


a 
Le 


& .t ize! tot odd, eet 


Baianor 
2 gad: 
Mtaktseses : 3 
“e380 Yost: 


“danas ediag 
ay etd eix &¢ 


Awa 


SL cbst as © id 


te oa * 


mors ol, 


heh 


eit abi 
m <8 “vue 


aot Si 
Seacot oc 


DPivar 


262 
the other parts of the Louvre like the Tuileries, and instead 
of the smaller independent orders for cach story, kas chosen 
% Single colossal pilaster order for the decoration ef his fa- 
cades. Zach pairtof fluted Sorinthian pilasters stands on a. 
high stylobate and rise to the cornice, where they are connec- 
ted by a heavy entablature. Heavy gables are alternately angu-- , 
lar or circular and aes filled by trophies to form the crowning. 
This is the only motive borrowed from the castera part, but by 
the heavy proportions produces ugliness. Likewise not beautiful ¥ 
must be termed, that the great windows of the upper story care- 

essly intersect the entablature and dire ctly abut against the | 
crowning cornice. The striving for grandeur has not merely mis- | 
ed the architect thus into an annately false decoration, but 

to ugly proportions end 2 likewise monotonous as well as 
& neavy tra atment, which further also bears the stamp of a te- 
dious monotony. If he would avoid this, he must before all cre- 
ate ue effective grouping an animated rhytha. 4 a 
Ths question concerning the orisinator of these parts cannot : 
ns ae with certainty. That Baptists du Csreceaa was the - ae 
architect. of Henry IV is established. Since he was no longer’ 9 9 
living in 1602, he was sacceeded by his brother Jacques, who 
was employed tibl 1614, thus still for some years under fouis 
XITI. It is probable that both worked on the Louvre galleries; 
but which parts are to be attribated te one and which to the 
other can scarcely be ascertained. But further two members of id 
the Metezau family ars also designated as architects of the 7, 
king in the same epoch, and old traditions would likewise pro-= -. 
ve their participation on the bouvre galleries. There is 7. 
tegau, who however was no longer living in 1526, and had his 7 
son lb. yotezau as successor on the building of the Louvre, who 
died in 1615. But also of these artists we know nothins more ; 
exact concerning their part in the work. Yet probably we may) © 
attribute one half to ths two Metezaus, the other to the two 
Gerceaus. But which half is doubtful. 

Under Louis XIII the buildins remained dormant for a lons e) 
time, till Richelieu again undertook it. But men turned nor. 
the still unfifiishdd bailding of Lescot, and the skilful archi- 
tect Lemercier was entrusted with the execution in 1624. Bat 
to transform the work in accordance with the requirements chang 


‘ee 


- 


i kina Bist 
* sec bs cit 


sbisine | Baw eo Sas g ‘oui Sad iene) a ae 


got f Py s 


aver © & 


a Piss be yd rl 

‘ te 

ey tart od t gee: et 3 oo. 
- ehteR. guest 1223 
b Badeace . 2 


~{ind. gidhic 
iy fed. '¢ ae 

Ma P pS 
pba sake ast ys 


Baloy, petay 


py Btbatot Es. = 


we ™ on 
FA We ee 


“oneal 


¢ 

i209 
“we % 
ed a VUOw 


263 
in the meantime, the plan of Lescot was enlarged about fourfold, 
the northern corner pavilion (clock) was made the middle of the 
western facads that was twice as long, and there were executed 
the parts of the western and northern wings denoted by (42) on © 
our plan. The merit of Lemercier is that thersby the arrangem- 
ent and decoration |éfifescot’s bailding were retained, and for 
the court of the Louvre was preserved as a result its artistic 
harmony. fhe upper termination of the pavilion by ths caryatias, 
that support three pediments over each other, and with the high © 
domed roof are not blameless, but are yet always to be acknow-— 
ledsed in relation to the caprice of the art taste of the time, © 
For it is not to be denied, that the caryatids, the prized wor- 
ks. of the talented sculptor Sarrazin, are indesd concsived ' 
somewhat too picturssauely, but in comparison to so many fant- q 
astic parocco creations of the period, are yet always to be d 
designated as modsrats, nobis and graceful. 

In place of jemercisr appeared under Louis XIV after 1660 
who began the other facades of the court (#8) and again 7 

red ths gallery of Apollo destroyed by fire. At the same :. 

bime he completed pavilion Marsan and therewith the north wing ~ 
the Tuileries (14). Then was erected after 1665 and accord- © 
ing to Perrault’s plan the east side (15) with the colossal 4 
portico, that was added inharmoniously to the rest, but flatt- 

ered the love of Louis XIV for the majestic. After these works 7) 
he Louvre fell into decay, as it was yet unfinished, shaming | 
the fate of royalty, and when the latter fell, the mighty buil- 
ding looksd like a fallen ruin. Napoleon first caused the pal= © 
sec to be again restored and further constructed by Percier andl 
Fonteains. The western half of the north gallery, which joins 
the Tuileries (16) and the portion at the same side adjoining 
the Louvre and intended for a chapel (16) originated at this 
tine. The termination was made recently by the parts erected 
under the second empires (18). The desisns of Visconti unfortu- 
nately then suffered great alterations, and all was executed = 
in an exaggerated and quack’s style, which seems to be the ex-— a 
pression corresponding to the business circle in 1868 dominat-— 
ing Hrances 

38. forks in Pontainsblsau. ; 
Wore than on the Louvre, where a regard to the earlier parts 


a 


A ¥ tale rete if : ; . rt i ne 
20087 2! ; WAUSL Ody be: 
7 = nO j 
Lind es? ao Vi, yanes to dooge ed? 3 


~geeld siete che 


- 
MS A ; ; BATH 


ah hatter ; 
+s e ~seh 


a 2 oa 
“weve vantct Rotax 
a Bs bn eic 

os seetéscve74 


o 


oqgee ais 


Setias o) 


om & - 


oe Se wie scien 


“eto 
as a 


Dice te ant? 


am hs pel 


yieliss 


264 
dominated the lateroconstructions, may be recognized the char- 
acter of the epoch of Henry IV on the buildings, which he added 
to the chateau of Fontainebleau. Here first belong the parts 
designated by 4 on the general plan (Pig. 36). Surrounding in 
taree wings a great court, these buildings are intended for s 
subordinate service purposes and accordingly bear the stamp of 
severe simplicity, that in the spirit of the time is not expr- 
essed without monotony. The combination of brickwork with ash-— 
lars, the plain and even stupy enclosures of windows and door- 
ways, the absence of all refined or more animated forms gives 
these buildings a dry expression, although the whole makes a 
disnified and substantial effect by the skilful proportions a 
and the happy subdivision of the masses, especially supported 
by the pavilions at the principal points. The great ‘s@micircu— 
lar niches that cut into the main facade at the middle also c 
contribute to this (fis. 115). In any case these parts belong - 
to the models, which men then anderstood ander the rural char- 
acter of the tine. 

On the contrary greater masnificence was developed on ths 
portal, which under the neme of “baptistery of Louis XIEI” clo- 
s the niage court of the chateau at the eastern side. Its name 
was re ad because the baptism of the dauphin occurred in its 
Hallo upper sata The buildins has the imposins form of a tri- 
umphal arch, yet in an entirely free and original composition. 


A wide arch opens at the middis, asia at the sides by niches, 


which are enclosed by short pilasters with fanaifal capitals 
like Corinthian. Over the niches are placed medallions with 
busts, enclosed by heavy garlands of foliage. The forms seek 
to follow the much varied examples of the early Renaissance, 
the dry members and the luxuriant crisped foliage plainly 
ate tha late e, Over the middle building then rises an 
arched structures open on the sides and covered by an ogee domed 
roof. This form is not free from Barocco caprice, but the whole 
still makes a fine impression and gives the court an imposing 
termination. 
Furthermore under Henry IV. were added the gallery of the stag 
d the gallery of Diana gatenn over it, the former of these be- 
ing transformed into living apartments under Louis XV. These 
arts (Fig. 116) very decidedly bear the stamp of this epoch 


but 
hay 
indi 


i 


ait 


» ia 


' 2 Pas 
y As ne S-} cone A 
’ Meet 0-5; 
»? ie ee 4 " 
i , a pa és oo a4 
; 1 ea Lae ‘ 
: , jak f oa i -) 
tm esi: 8 
vodhoett 
i ‘ Ee 
ae at 
o% 
Sah 


} yeeree! ‘fo noovect @ tkned’ dotsw mort .elesiqaso etpl 


ined peads So. tootidors eh ,wohath efbbia. est eroloné 
ackbude bit eben fai ode .eneebte9 Yo oavagnd .2 bencisnen 
| Bed .xevs7 edt been Yicamtd nssoxsd yh exit bee ,ylert 


. K Peas to kwety snopeinsotg Eo@ O00 Yo eeitivpictas. 


|  dozndto e*seted .e Yo anoigetnessages ca ifen ee .tfovit | 


iB 9th tag & enis enee e439 ite caw eb .Letiase reach aft 20 
‘ not 36 moon dyad etd 30% abnitnieg Seinoetoyino von Eas 
prt eid Yo enottercesh edd oels yldaderq dnd .veedd 
dhead ‘to yrolind eft wid vd sew eteds eabised -boncid 
y arol 0% OST twode to sksceag beroun' me yd fesego 
. has wega2cebna! igin hevatag ssw fae eared te ret ies 
ee Mizar? -beyoutaeh tedal asx yrsiiah einy .eeneoe 
| ome 


| ri days ; io éuece <Winiat est to fegedo ect to aoitercosé 
eng 


* na 
Ps ‘iy re 
ay St 


ened tedesn & ,denimes® Beyolam? yfteide cew ean 
F Netotened vd #fiod eaw TTIX vinc; aeban yifleaky 


$e) " eneinigo Seeeost .bntiiicd esibbia ect ofni tovon tefe0 


Wendt .2gcite ‘Yo toeweganses Sosoted onpeesuiotg girs mendes | 


sti Bessy sisit af mies: Ovitoessuag © golsves yous 


. seeaagding oifidad Sol shalhlin§ .ee - 
fa Sails sexist sit Got Laesasquc! gan VI vine! sekat © 
} Sti gl golsvst ot eonaneisaes sid ts tovesbhas exit 
BII8 eis ai oticeloger bas Visceays te wel edd tned 


eit 


gan dolin sellensec? @8b nodease cosit eigd so 
a vod oe wine beside akin Parente’ od ¢# hennee 


As 


¥ of: net ent Soa oldedS wobutw nedoad of? ylfeto | 


Biezeaacg on old yd. estelg otetegse Yo sedann & | 


1 edt Qe Bnibliedes edd omis atid Fo tdtoy sad od | 


B iedatacare esnq videselod @ xf too beluseo pew’ 


Pas gounrdse gien eit hastol goss roadie sodeaeiod. 


ssneett SSvin eoiveiies tno sok: 


@ $e nnetaacr eatsse Yo ‘Reve bes .estcnpa bad etecoute ” 
egtit Ssht aildd ¢dheotd yumeh enckesestbh dosdsoget - 
w Bae BOSE ah sehed adisouaancs eat .Alayos seals 
ease sétes5 a*gaid ‘edd tedte escey ong .8L6l a2. 


of f 7 Ce 4 F Ln { on 
“7 ; - my ah ot eit ; A) N i, ae i 
i SORT Lead) OC Pe ey eA Oe 


EEN cor Mbablubed 0 base | 
: be to'elay “ght evode tnomteeds ott shed cee.” 

‘gro! { wrebyer copetes esd of -tihign abdeitss ebotoe |? 

isin yrote tsqgy edt Yo Bietesl ty’ Sedeintn is warcie 


1% 
Anis 


265 

by the dry forms and the mixture of brickwork with ashlars. Yet 
also here the treatment shows the rule of an energetic and con-— 
scious artistic spizit. To the paroccs woyders belong the occa- 
Sionally diminished pilasters of the upper story with their vo- 
lute capitals, from which hangs a festoon of leaves; but espe— 
cially the broken window sable and the fantastic volutes, that 
enclose the middle window. As architect of these new parts is 
mentioned & Dupsrac of Bordeaux, who had made his studies in. 
Italy, and like au Cerceau himself used the graver. Besides 
& number of separate plates by him, we possess.a work on the . 
antiquities of Rome and picturesque views of the gardens of 
Tivoli, as well as representations of S$. Peter*s charch and 
of the Roman capitol. He was at the same time a painter and kh 
had not onlyexzecatedpaintings for the bath room at fontaine- 
bleau, but probably also the decorations of the galleries men- 
tioned. Besides there was by him the sallery of the stas, which 
opened by an arched passage of about 120 ft. long opposite the 
Sallery cof Diana, and was painted with landscapes and hunting 
scenes. This sailery was Later destroyed. Finally there belong 
to the works of this time the rebuilding of the magnificent d 
decoration of ths chapel of the Trinity, whose ornamentation 
w2S carried out in 2 tolerably pure classicism. On these paint= 
ings was chiefly imployed Freminet, a master then esteened. 

finally under Louis XITE was built by Lemercier the famous 
horseshos steps that formed the main entrance from the great 
outer court into the middle building. Present opinions litéle 
esteem this picturesaus Barocco arransement of steps. Howsver 
they develop a parspective charm in their srand effect, of wh- 
ich our esthetics never dreams. 

89. Buildings for public purposes. 

Under Henry IV. was sxpressed for the first time in Prance t 
the endeavor of the Renaissance to develop in its sreatest ex- 
tent the law of symmetry and regularitn in the arransenent of 
strests and squarss, and even of entire quarters of. cities. In 
important dimensions Henry brought this idea into existence at 
Placs royale. The construction began in 1605 and was completed 
in 1612, two years after the king’s death. There formerly stood — 


? 


: nodnge oDbt 
+ Yo Beno 
it gisaecot 


* soe 
or > i } a 
Misi d ES 


se: fop tp 


Tues os: 


— 


- 


a 


iM ir & 


sme we On 


auG ne 4 Se 


ed ae Bae vi 
~ Ao edt et 
ee Ra 
r ea ei ciom as alt oh i » oa . 
ov oAtpha gs, CL 9 ia , 2 *n uh uu ebRBE 


y & 4! Btveon octane aes) 
Fa palit asidog eB espe ba Bide) 


266 
formed a broad rectangle surrounded by resular buildings, that 
opened by 144 arches in the ground story. A railed lewn surro- 
under by groups of trees, two fountains and the cauestrian st- 
atue of Louis XIII srected recently instead of the old statue 
destroysd in the Revolution, occupies the middle of the Place. 
The architecture is a combination of briéks and ashlars, makins 
® severe and sloomy impression, that is even increased by the 
85 high pavilions into which the mass of the roofs is broken. 
Beauty here recedes behind the rules of cere suitability, but 
the latter is emphasized in a vigorous way, so that the whole 
in its way with all its severity acquires the stamp of clear 
propriety and fitness. 

The second creation of this kind is Place Dauphiny, steel 
in 1608 on two former islands of the city. The buildings bear 
the same character,that results from the combinatiennof brick- 
work and ashlars. But the impression is here somewhat stronger 
and more monotonous, and the uss of fustication is even more 
prominent than on Place royale, The Place forms the actual 
point of the island and has a trianguler forn. | | 
Grander was to 02 2 third Places, that should extend as Plads ~ 
de France instead of a marsh, and should terminate these under- ~ 
takings for beautifying and improving the city. This Place was a 
deseribed as a half moon in a great circle, whose diameter was” 
to extend from the Bastile to Rus de Temple. Hisat principal 7 
aban ts were to radiate from here and bear the names of the 
hisf provinces of France, ahile:to tae connectins streets nOres 
sal ia the names of the inferior French provinces. Between 
the main streets each of the seven masses of buildings was to 
rise above the ground story with arches in two stories of bri- 
cks and ashlars, each covered by a high roof as a separates pa= © 
vilion. The plan for this grand arrangement was alreadr decid- 
ed, when the murder of the king put an end to this like so many 
other plans. 
Of the numerous other structures for public usss we oibee 
the completion of bridge Pont Neufl whose construction the king 
Gaused to be executed from 1602 to 1807. With this was connect= 
ed the lengthening of the island of the city on the western Ss © 
side, which was effected by the connection of two sualler isl- — 
ands. The bridge theebpayoinédethe Cite and was divided into 
two separate parts. Further the king caused the water conduits 


i 


z + ‘ 
Pry me ee 


vee 


i & 


a ee ty = 
; ; ii 


he ae 
~ rf} = 
ee ae the 


NOTES 


ve 


ee ae Bama se gh thee oe a a a a i! 
be Crimea Pe : Pig : 


. 


267 
from Belleville and Pres §. Gervais to be restored, which sup- 
plied the northern part of Baris with water: he also restored 
tke fountains fed by these and erected a number of new ones. 
Likewise different quays were rebuilt and the walls and dates 
of the city were improved. 

It is characteristic that this period of the citizens and of 
the people was the first of the monarchs of prance, that caused 
50 be erected structures for public use and not merely magnifi- 
cent works for his own pleasure... In proportion to the brief + 
time of his reign allowed to him, the number and importance of 
those erected by him must be termed important. . 

. 90. Palace of Lbaxemburs, q 

After the death of Henry IV, Maria de Medici appeared as pat- 1 
roness of the arts, and this love of art was an inberitance f 
from her father’s family, and was perhaps caused to be forgot— 
ten by the repusnant.character of this intrisuing and imperious 
Florentine, even if in her relations to art 2 cooling and fros- 
ty air had not penetrated. Frosty in a high degree is also then 
the principal work, that architecture produced at her instiga— — 
tion. In the year 1612 she purchased the mansion and garden of 
the duke of Luximburg, as well as several adjoining pieces of 
Sround, and there in 1615 cansed to be erected for herself by . 
S. dé Brosse, a nephew of the younger J. A. du Gerceau, the i 
existins palace which yet remains. In the strikingly brief 


for the sallery. 

Of the master of the building we only know that he was born 
at Vernsuil, yet without sivins the year of his birth. It may 
be conjectured, that according to the custom of ths time, hse 
had made his studies in Italy. At least his work itself indi- 
cates this, for the architecture of it recalls Ammanati”s court 
of Palace Pitti at Florence, excepting that there single and 
here coupled pilasters divide the surfaces. Otherwise the fre- 7 
quently asserted similarity of the Luxemburg with palace Pitti 
is a myth. The plan tather shows an entirely French scheme, and 
likewise in the elevation thse high roofs and the dominating 
pavilions. 

Already in the arrsnsement of the sround plan and entirely | 


ve 
, 
2 
z 

y 


| La 
ae |) 
Ret’ 


x 
a 


eh “sete des nh 9 
.Sebile ee9dt “no 2 ebteling ae 
en? to2° 


— 2 
iIL09 


i i ha 
res 


Ba ‘ Re 
BetS bor ‘ya0d: fsg tort: 


gat ye! 4 


$4evo hoes: 
Reese, eietealig 2: 


ripe 


Beene evhtzess dant 
"5 <aubepehbo tat Figs 


eS Ae 


TN) 4a, ep ee ee TOO eee on ~ 
4 Poa ee 


268 
corresponding to the French custom is a nearly square court, 
enclosed by galleries on three sides, and separating the main. 
building from the street. In the middle of the external wing, 
that only consists of a Sround story and a terrace, rises a a 
two story portal building of stately effect, crowned by a dome. 

AG both angles this front bailding is flanked by pavilions 
with steep roofs, carried above the great story by two upper 
stories. The two side wings of the court, that adjoin the pay- 
ilions, consist of a ground and one upper story, which contain 
a gallery 18 ft. wide and 180 ft, long. The gallery lying on 
the right was adorned by the great paintings of Rubens, which. 
were later transferred to the museum of the Louvre. The main | 
building terminates the court in two stories over a ground i 
story, but at the ends project two great pavilions both toward 
the court and the garden, that only rises somewhat above the m ; 
main building, so that the upper story is rather lower than ¢ | 
the other parts of the building, and extends some 6 ft. higher. 
The projections of the pavilions toward the court were orisin- a 
ally connected by a beautiful terrace enclosed by a balustrade, 4 
to yhich a semicircular flight of steps leads at the middle. hs 
The centre of the main building is occupied by a snaller pavil- 
ion, that contains the grand stairaay rising with a double fli- — 
Sht. Ab the rear a semicircular vestibule projects to the gar- 
den, containing the chapel in thse principal story and crowned 
by & domical structure. At each side is a gallery for connect= 
ing the angle pavilions. ‘a3 

If this arrangement in its clarity and dignity is to be des- 
ignated as the model of palace architecture, the architect has 7 
casused an almost solemn onistttooprsvail in the artistic ele- 
vation, so that on all sides and in every partof the building 
ths same rangement subdivides the masses. Coupled pilasters . 
ars ea eg, in the sround storg, Doric with triglyph frieze in 
the second and Ionic in the third, and extend over the entire 
building with strict monsisteacy. Then the pilasters. like the 

wall surfaces are rusticated, but not in that sportive ornan- ) 
sc sash the gallery of the Louvre and the Tuileries, but in 

dry plainness that rejects all decoration. Only on the middle 
buildings that contain the entrances occur orders af columns; 
Plant ornament is nowhere, statues are used with the greatest - 
a 


‘ 7 


maby gi bs 


3 } Bedoene aoe sossie O78 we ‘ded 
, obfe utto He 88: 


* * pe 
gins ‘itp IOxi aSve. 


ty oe Per eo om Pe 
Saw Von we 


A ny oe ah > DP 


sacorbigdeni eles moidcesp focddLk 


A 


vt. a & Sa 
lone snekvactoaes 


a 
ate abate: 


ag cet ; edt of betasy 
on edd to noiaestoxs se 68 bowed ¢ 


4 > awe Tot Me dry Pr ge 


Omen eCfi Cae xoisgeonrsy 


¥. Be, 
Sh¢g 


Eee B bees imaog ef 
Motistal: ea? mont 


Le 


y bia p38 aA eet 
Tapss gto % 


SB ee ak ey tn Ea a 


269 

economy, chiefly on the pediments of tha angle pavilions. It 
is striking that the architect has erected the garden side in 
the same earnest style as the city side, and #ith his wanifest 3 
endeavors for complete unity, even for uniformity. aes a 

Without question this insbpiddconception makes a rather cold 
impression. it is an architecture that only affects the intel- { 
ligence and not the imagination. Such a design is based on this, _ 
that we know the Renaissance period in the rustication, and be- q 
lieve that the Doric style is found as an expression of the ru- 
ral. But these limits of the conception and the more reflective 
than fanciful talent being once granted, one must admit that a 
more important and trae artist is he that ersated this work, 
and who in a time that cherished cabrice in Barocco excesses, 
and knew how to adhere to such purity and severity of style. 7 

The charm of the design may however first be judged, mhen tb 
the incomparably beautiful garden is recalled, which unfortun- 
ately a few years since was nearly destroyed by the never sat- 
isfied love of change in the French. The flower beds with their — 
basins, fountains and statues, enclosed by mighty groups of t 
trees, the beautiful combination existing between the sarden 
and the architecture, producing an animated alternation; abl = 
this gave first the completion of the whole. The grotto design 
at the left side of the park is characteristic of that rustic- _ 
ation passing into natural srowth, which the Renaissance loved 
tala employ for such purposes. ) a 

91. Other works of de Brosse, 
Several years before the erection of his principal building, 
Brosse who was himself a Huguenot, erected the house of pr- 
yer of the Protestants, for the building of which permission 4 
cite een granted at Charenton by Henry IV. It was begun in 
1606, but was destroyed in 1655 after the revocation of the ed- 
ict of Nantes. The building must have presented particular in-= | 
terest, for the architect there had the model of the antique ~ 
basilica in mind, and erected the building as a colossal rect-— ~ 
angle surtounded on all sides by theres galleries. The lower 4 
colonnade followed the Tuscan, the second the Dorié, and the 
upper ons the Ionic order. Theee portals permitted access and yl 
31 windows gave abundant light to the room. The interétor like ’ 
the exterior in Protestant simplicity was restrained from Bb 


_— 


x 
As 
wh et 


- 
- a ” © 
wes ‘~ reaeny 


rT 


ad ot Nl 


wo) 6 4s 
J te, tee 


ay pobtooa? eros 
p Sedols ef roz: 
“ae dw act 


i 


— 
“~? th nm +e 


270 
ornament and exhibited the same monotonous severity, that forms A 
the gsneral character of the buildings of that time. Therefore 
bhis plain treatment was no offense to contemporaries, and de 4 
Brosse earned general by so grand and snitable construction. 
iSanwhile that he also understood how to execute richer com- 
positions, he proved on the facade of 3. Gervais, for wh ch 
Louis XIII laid the corner stone on July 24, 1616. Without re- 
gard to the Gothic character of the building; he phaced the 
facade as an independent piece of decoration before the build— 
ing and adorned it by three antiqus orders of columns. It was 4 
the first example of this use of classical architecture in Fr- | 
ance, and therefore this facade lon¢ continued in high respect. — 
Some years earlier in 1818, de Brosse had his opportunity to 
erect one of the Sreatest utility structures. The entire south— 
ern half of the capital already had lone lacked a sufficient — 
supply of sood water for drinking, and therefore Henry IV. had : 
planned to restore the aqueduct of Areusil datins from the Re- i; 
naissancs. The dagger cf Ravaillac had also not ahbosddthis p 
plan to come to execution, and the people of Paris must still 
have long been deprived of the benefit of fresh drinking water, 
unless palace Luxemburg had shared the same need for this water 
works. Hence the queen caussd in 16138 de Brosse again to under- 
take the plan and to restors the Sreat work of the Romans. The a 
Roman conduit chiefly had to supply the baths, brought for a 4 
distance of 10 miles water from Rungis to Paris. pestroyed by 
the Normans, and abandoned to ruin for centuries, it still ex= | 
isted as ruins in separate places,.so that the work of de Bro- | 
o& be termed an entirely new creation. He impressed on 
wwacter of massive grandeur}ishich characterized the 
s of this kind. The aqueduct crossed the valley a 
on 25 arches at a height of 272 ft., end thus pelo- 
d onstructions of the kind. The work was com— 7 
Save opportunity for the sreection of numet- 
southern part of the a od 4 
ds Brosse had to restore the great hall of the: pal- 
ace of justice at Paris, destroyed in March of 1618 by a fire. 
staining the old foundations, he adhered to the two sisted 
plan of the earlier hall, withont the least regard to the style 
of the other parts. He save to the hall stone round-arched vaalte 


= 


@ 90, 


set. oF dt bea’ ,Tissy 


ane apes 
* SY LOCE 


eee Ge dee ez f ~ 
Sxrooatw 4%: ABD. 


taebouse 
ad ee 


? febtaes « 
| ora 
j e tq a 


‘e aor i ® 
ve oP 


‘ioe 


fe eoaezceacs Lane 


iineds tence2 


ests y 


ankaec * ede ai sad: 
beedt of eonorstetc 


wy t/ 


? be £6" at. Ag 21 ie r re 
y BL: ROBE Itore! 
eli aihi SHG 
az 


- deGT ‘ 
i eng “ee nal oo thac eve theitoxe! 


we he 


gon foots m7 
Vo Ae i355 


yf Wold Babes oP 64 ace ee Ae eM ited is 
pet? a aust “4 


271 
that formerly had a wooden ceiling is the form of 2 Gothic tun- — 
nel vault, and thess rested on a row of middle piers. The lat- 
ter received a decoration by Doric pilasters. Two wide semicir- 
cular windows with two round windows over them in the ends gave _ 
abundant light to the room. The arlhitecture is not without @— 
dignity, but stiil has a cold monotony. Like the other creati- 
ons, it shows that de Brosse belongs to those architscts, who 
became prominent more by reflection and rational conceptions 
than by imagination. : 

92. Private chateaus of this time. 

irom the rather important series of chateaus, that were erec- 
ted during the first decades of the 17 th century, we emphasize 
some peculiarly characteristic, in order to represent by them ) 
the faurthsr development of the French chateau architecture. 

As a common basis is to be retained, that always still the 
national customs connected with the traditions of the carlier 
epock are determinative in these designs, that the distribut- a 
ion of the rooms, the arrangement of the stairways, the regular © 
grouping about a rectangular court,form the fixed standard. 
Especially characteristic is it for the general appearance of 
these buildinss, that indeed after the Italian manner then str- 
ove more for quiet and simplicity of lines, but in the beginn— 
ing of the epoch they firmly adhered by preference to the angle © 


—— 


—s 


pavilions and thereby to the picturesqus division of the masses, 
and that even round towers and moats with drawbridges in nowise 
entirely vayished from the programme cf the building. On the a 
contrary the great galleries, the pride of the 16 th century;. | 
are now adopted, and the life of the occupants of the chatean a 


res as morc intimate into comfortable chambers and halls. 
5 He 


: opposed types. One is based on an > a 
almost intentionally removal from show, @ simplicity often car= | 
ried to an extreme degree, that knows nothing but the blainest | 
combination of brickwork and rusticated ashlars, with a dryness 
of profile that often leads to stumpy weariness. The other as-~ 
sumes the same ground elements, but knows how to obtain a rich=— 
er ornamental effect, that indeed as a rule inclinés to Barocco — 
forms and to luxuriant overloading. In both cases the lack oft ma 
an artistic development must be compensated by the truly nation- 


o ue 4 
J ly ae 
—= 
a 


ay : 
ine ‘qllcor ne iss) ne sich 
o | ‘eelqaexe jodedebeiaett Me 
“0 “ray segntbt ted one myn ptt apa ai snbuer 
ved tc Teisoud ,ywrif{cd | | 
nq gnooetbe intra qewod 


i ‘ “haepen gD 


gatbiinc $s Snteq edd etote of vmeonin 
w netteot: aor tnain 
, Ha Gotan oi presents 
vy ne. enzc3 
(Gin f ain eis eelic s 
a iaibbtsc o6h 
D Nek 20 Betonstescs ule 
a 4 to aeden Sas avin 
phei'y 
es as 


te: ant to Heth tc 


Baily 


+s At 
shite ne 


~ mh + 


oy he ome vy e $a 
did 2 Je Re 


- ~ * 
> ~ r 


aS sin “BESBLEL 88 
oy is 
Aseottitror 4 p ILsme vd esltne 


iis 


pesos Bio: ¥éi0! 02 e dee om edd shee 


De Lhe Malo Lgl uta Oe 1 ee ae! is ae 


272 
national .and often really original stamp. 
Characteristic examples of both types are offered by shat 
Tanlay in Burgundy in its different buildings. The main build-— 
ing was commenced in 1559 by F. de Goligny, brother of the fa- 

mous admiral, but only a round tower with.the adjacent parts 
of the two wings was completed. A new owner, J. Chabot, marquis 
de Mirabeau, added in 1610 the so-called“little chateau”, a pa- 
vilion rising independently before the principal building. This 
exhibits in the sround story ths most luxuriant rastication w 
with a truly fankastic and overloaded decoration, in which all ¥ 
sorts of plays of Lines alternate with plant forms.69erathis 
rises the upper story with elegant Corinthian pilasters, rich 5 
indow gables and a magnificent frieze entirely decorated by 
foliage. This luxurious buildings is entirely constructed of 
ashlars, and was calculated for a contrast with the water of 
the surrounding moat. 
On the contrary on the highest monotony is the fants exten- " 
sion of the main chateau, which was erected by the finance in- 
tendant d’Hemery in the first years of the reign of Louis XIV ¥ 
after 1643, Since this no longer belongs to this epoch, we pass — 
over it, since another chateau of the time of ,ouis XIII pres- a 
ents an example of similar monotony. a 
This is the chateau of Wideville tot far from Versailles, te 
was built by C. da Bullion, whd filled high offices of state 4 
under Henry IV and Louis XIII. The plan forms a rectangle of! a 
littls depth, 30 ft. by 125 ft. wide. At both sides project s 
small pavilions with round roofs, and the middle forms e lar- 
ger and likewise projecting pavilion, that rises by a story 
above the remaining one story stracture, and contains the.ves- 
tibule with a rectangular hall. At the right beside this is 4 
arranged the staifway rising in a straight flight, white #&¢ % 
the left lies a smaller side stairs. The entire distribution . 
is convenient and suitable. The building is surrounded by 2 
moat, and rises on an island with a high substructure, that 
flanked at the angles by small towers like a fortifications 
The extremely high windows, the angles as well au the belts ¢ 
consist of ashlars, all else beins built of bricks, and the 
entire buildins exhibits the sreatest simplicity and monotony. — 
Of the anternal equipment the beautiful glazed floors are to 


, 


> 


i , hk Ae 


y Hebe Bb dIeg rye 
Yo nokistin . 


Lt 4 “#a80 eltircgen 
eee He welgns ods 

bi fod d ab paiage 
aan edit 
sim jerome 

+ yisenit <parc? 

anes ezcance ani 

Be nibsolteve tre 

edt at hates 

Hehe equess fc: 
in eed end .o! 

s9bin ad 


. 


do 


bael 
t VE 


. em kt 
wat Wa 


Le ; : La ry me we 
Ker te 


y ER ONES Olah) | a ae 
, "Pah J Cs y. Wea ¢ “SET Xe ’ 
1 ‘ ‘ VATS " ° 


273 : : 
be particularly emphasized. In the park is seen a grotto design : 
wite Doric columns, that shows an imitation of the forms of drops. 

In Normandy, where brick architecture had already acquired an 
artistic treatment in the middle ages, we likewise also find 
examples of a richer use of it. Particularly magnificent on +. 
the chateau of peaumesnil in department of Bure. (Fig. 117). 3 
‘Qn an island surrounded by water rises the magnificent build-. 
ing, whose windows and doorways as well as the angles exhibit. 
@n unusually dry rustication, while the wall surfaces in brick 
aré executed in lozenge patterns. This as well as the original 
Barocco fanciful caps of the portals, windows and dormers, wh- 
ich ¢verywhere show the greatest diversity in forms, finally 
powerful and richly executed chimney caps, and the pompous ter- 

ination of the middle pavilion with all its heavy overloading, | 
The effect of these richly divided masses is enhanced bp the | 
happiest manner by the water and the magnificent groups of tr- 
6ss in the immediate vicinity, As in Wideville, the consists 

of an elongated rectansle 3. ft. deep by 12) ft. wide. The mid— 
die forms a projecting pavilion, that contains the vestibule 

with the statuary. ‘ | 

The same character, the liks combination of brickwork in pat~il 
terns with dry rusticated ashlars is found on) the old parts of 4 
the chateau of Ifs near Fecamp, except that the plan is smaller © 
and the decoration is not as heavy and overloaded as at Beauzn- 
es nil, although likewise dry and Barocco. The building alse 
consists only of a rectansle 25 by 65 ft. The middle contains . 
tas vestibule with the stairway, beside which at each side is 
& great chamber occupying the remaining space. At the angles 
of the fronh facade ars placet little round towers with ogee. 
roofs, that as cabinets are connected with the adjacent chan- 
bers. Also here iS principally accented the picturesaus move-' 
ment of the masses. A magnificent park with its sroups of fol- 4 
iasge forms an sfifseteve backsround. 

98. Gaty private houses, . 

Among the prominent dwellings, that are everywhere preserved 
from this tine in tae chief cities of the land, there must be 
designated as one of the most important the mansion Montescot. 
at Chartres. It was built at the beginning of the 17 th cent— 
uty by C. da Montescot, secretary of Henry IV, later served 
aS & monastery, and is now utilized as the city hall. We dive. 


1 


mopar 
ee 


A rr 
an 2 we Th 


} i © : 
Mee) OF a 


ci Mant Badin 
eb WS wt Oe Oy 


moa 
ie 22: 


: A 
ee | ae ti 
; a) i Re, () 


Ma FOR PP a ki 8 | 


274 
the plan of the building in Fis. 118, which shows the resular 
aerangéascat, that was peculiar to prominent city residences in 
France for a long time, with a particularly clear distribution. 
Around a rectangular court & are grouped on three sides the 
living rooms, while on the fourth side next the street a wall. 
with the entrance gateway forms the enclosure. The main stair- 
way A lies in the middle of the wing at the rear, and second 
stairs B are placed in the left wing. The architectare consists 
of bricks and ashlars, and exhibits the extreme measure of mon— 
otony, nowhere with the least ornament, and even the copnices 
and other members are with a heaviness approaching rudeness. 
Only tae great proportions and the happy movement of the masses . 

ive & stately expression to the building, It is remarkable ¢ ] 
that the enclosures of the windows and the pilasters, that sub- 
divides the walls are madi of bricks, while the other parts most—- _ 
iy exhibit ashlars. At the principal portal, which received a 
picher design, ashlars alternate with bricks, The three portals 

f the court faceds are more richly executed and are even fae— 
BHished with sculptured ornament. 

Incomparably mors slesgant and magnificent is the mansion de 
Vogue at Dijon, which was built about the same time by B. Boa- 
hier, who held an influential position as councillor in the 
parlament of Burgundy. The year 1614 must be assumed as the a 
date for the completion of the building, for Bhis date is read 
on the fireplace of the great hall. Bouhter was an inspired | 
friend of art, made journsys in Italy and carried his studies : 
so far, that in the year 1630 the hospital of the city was 
built accordins to his plans. He probably also made the drawi- 
ngs for the hagnificent residence, that hs sarlier caused te 
be erected for himself. Gertain peculiarities, both in the ar— 
rangement of the plan as well as in the original but still 
capricious and sven ecesniric treatment of the architecture s 4 
seem to state, that one has to do here with the work of an is= © 
Senious and wea ithy dilettante. 

The buildings is Ssrouped in thrse wings about a snail court, 
that is separated from tke streetby a wail with 2 magnificent 
Barocco entrance. Attached to this wall es an internal arcade, 
that with the highest splendor of execution contains en” slegant 
example of the antious studies, and in its spaceful classicism ~ ; 


Siw eecatsoxo y 


Saenwans. 


e ‘eeendols edz tc poe 
eid Yovees 


min oe? 
Si 


i icaatti ‘otey 


Vedas at aus 


‘e. 


1 


~~ & ‘<a 
hal 

~ oa 
% a 


oe ae 


~~ 


& 
2 


Nl eee se 
or oh . 


- ede een 3 
vr gives BE 533 
agte rea k ® F 


ay sates de¢2 


Gy ~~ ne we 
Me 


XS 


neg 
a4 


~~ 


275 
Strikingly differs from the other parts. The buiidins is cther- 
wise neitasr eminent by its happy proportions nor by the cons- 
istency of its development. For example the windows have stri- 
kingly dry enclosures with which wonderfully contrast the hea- 
vy Sable caps resting on consoles, that are partlw round and 
partly scrolied in volutes. In details indeed fresly in these - | 
parts is greater richness of decoration, that in its execution | 
combines plant a figure slements. There is a luxuriance of 
conception, that always brings new motives and by the richness 
of the variations, which even extends to the enclogaresvof the 
roof dormers, abandons the harmony of effect. But the solidity 
of the construction, the consistent use of pure ashlar masonry, 
that extends uniformly over all parts, sive the building the 
worth of a highly original creation. To this is addad the exc- 
Gllent maintenance, which extends to the colored tile roofs w \ 
with their elegant lead points, ths magnificent lantern in the 
stairway the iron work full of character on the well in the fF 
farm court, and finally also the wooden paneling and the entire 
internal equipment of the rooms. 

Smaller private houses of this spoch ars seen in many other 
cities, We mention in Ronen the stately house of Rue de la sp- 
osses horlose, that forms the angle of Rue des belles femmes. 7 
[% bears the namber of the year 1601 and belongs to the richest © 
of that epock. In Paris is counted here the mansion Sully in | 
Rue S. Antoine built after 1624, one of the larscest and most - 
complete of the prominent private city residences of this. time, 
unusually rich in sculptured decoration. Purther in Arrag is 4 
hous? in Rue des Balances, that is executed in dry and strong — q 
forms. These examples may suffices instead of many others, 77 q 

Tfo dimensions of importance Like a palacs rose the princely a 
residence that Richelisu after 1624 caused to be built opposite ~ 
the north side of the Louvre by J. Lemercisr, and to which he 
gave the name of palace Cardinal. Scarcely was the proud buil- 
ding completed (1639) when the owner gave it to the king. Since — 
1643 it has been known as palace Royal, and it was desisnated 
as the seat of the resent Anne of Austria, then Louis XIV trans 4 
ferred it to Philip of Orleans, who caused the important trans— _ 
formations to be made, as we know it. The great palace origin= 
ally consisted of a number of wings grouped in a rectangle, 


to ferrensese3 | 
Botn 6 Sr 


+m + SOR 


WS ee 1 


elses, of 4 fg f 


ake Gea he 


ear ate: 


ee 


€ ae del 
Oe ft 


tS 
ns ted 


Lee Ww 


xe aes tee 


ney 
a) 


278 

which extended around two great courts. The principal court gas 
enclosed on thres sides by buildings: on the fourth it was bor- 
dered by a ground story with arcade, over which extended a ter- 
races next the great and magnificent sarden. In the interior p 
prevailed princely luxury in the arrangement and furnishing of 
the rooms, Besides the great festal hall and galleries with m 
marble works and paintings by the hands of the first painters. 
of the time, the palace contained two halls for plays, a small 
ons for select circles, and a larger for 3,000 spectators. This 
was the classic stage which soon received its on by 
¢ works of Corneille, Racine and Moliere. 

94, Public buildings. 

How very sreatly the civil wars and religious contests obstr— 
ucted the development of the cities, we already saw in consid-— 
ering the city hall of Paris (8.59), whose erection was long 
stopped and was first completed under Henry IV. The reign of | 
this popular king was then chiefly, what offered protection a. 
and freedom of development to the citizens. As proof of this 
there arose after the beginning of the 17 th centary in sever— — 
al of the most important cities of the country, city halls in 
the bold and even dry forms of the time, but at the same time 
in the energetic luxuriance of decoration of which this style 
is capable. Men believe that in the freshness and richness of 
thess buildings is recognized a reflection of the new feslins 
of life, that under the sceptre of Henry IV returned aftar ~ 
such long sufferings of the citizen class. 

One of the most important amons these monuments is the city 
hail of Rochelis, the famous fortified city of the Huguenots. 
The building was erected at different tines, and a part of it 
dates from tha 15 th century. In the year 1605 was Laid the 
corner stons for the gallery (Fig. 119) and the great hall, t 
that now forms the masterpiecs of the entire buildings. In the 
Sround story sxtends an arcade before the facade on unusually 
short and dry Doric columns. The shafts of the columns consist 
of fluted drums alternating with heavy bosses. Not to make the 
gallery too nartow and too sloomy, where the openings in the 
wall permitted, the architect has omitted the columh %0 be ex- — 
pected, and connected the two arches by a pendant keystone. 4 
Thereby results a very fanciful and rational rhythm, that in 


le CHE A ir id 


re. 
7 


a . 
+ havatsus, ayy ‘stt2q te 
fxvinse eteveetel 


a 
‘ 


ee? | 


ee 


a. eee 
si 


: < 
aw er amnnG 
<- Vi Lf ys SA 


Hae 
‘aM Ne 


| epdincos 
ba 


vd | 
Th 


rel 


“Aci 


v= 


Taomeg 


. a77 
the upper parts is continued by slender Gorinthian columns. In 
these wider intervals are placed great windows with straisht 
lintels, but in the narrower are niches with statueson Giesant 
bases. A roof story with Barocco but highly original design in 
windows and Sables form the energetically effective termination. f 
Ail parts of the building exhibit an unusually rick decoration 
for this time; in the spandrels of the arcade are trophies and 
garlands of leaves, on the pendant keystones are masks, in the 
Sriglyph frieze are emblems as well as the initial of the king, 
on the frieze of the principal story are elegant acanthus scr- 
olls, on the crownings of the roof gables are masks and volut- 
68, Caryatids like hermes and genii with cornucopias. This mag- 
nificent building is still a. proof of the power and bloom of 
the city, which soon thereafter received its deathblow (1628). 
Formerly existed on this facade a double cian of steps with 
the equestrian statue of Henry IV. 

In the year 1627 Rheims, the 01d coronation city of the Fre- 
nch kings, also commenced the erection of a new city hall, wh- 
ich adhered in plan and construction to the model of the citw 
hall of Paris. As there the facade was flanked by two pavilions 
with high roofs. A middle pavilion contains the main entrance 
and is crowned by a clock tower. The proportions are good, the 
Subdivision and membering of the facade are clear and executed 
in bold and tolerably pure forss. The ground story has Doric . 
half columns and rustication, that is also employed for the a 
window enclosures. In ths upper story ere arranged Corinthian a 
half columns, while the third story in which the pavilions rise © 
above the other parts, exhibits Ionic half columns. A roof sto- © 
ry with alternately larser and smaller dormers forms the tern- ; | 
ination. Over the portal is seen the equestrian figure of Louis q 
XIII on relief on limestone, which appears in the place of a 
wooden relief destroyed in 1792. The inscription found there 
Sives the yaar 1686 as the date of completion of the building. — 

On a sreater plan, masnificent even if executed in rather & 
heavy forms is the city hall of Lyons, begun in 1646, but in 
its entire keeping is later in this epoch. Beautifully restored © 
in recent times, improved and enlarged, the buildins is a pom— 
pous expression of the fullness of life of this rich and power-_ 
ful city. The rich relief ornamentation chiefly. contributes to 


Fy 4 


> 0 nabinda’s $ on dotdy 


bebbo ek ‘ehda y) Of +SORR TE geeddree to atae 


~ oh se i on - 


bia 


? 


> # 
f 


ePewrnece 
owe so 


Pyoette vest ‘yd ravit 
: ‘bene bsievey, 
at: Sifiw sevo 


M6 ondase gein 


i 


mee 


sit ‘i pevin 


f 5 
en ry gee te yom 
‘ S28. Yuc 


paki {nbon 
“bor Sotdorce: 


mane S me = 
5S RSS te 


Peat), ' wee . 
coors aetats 
Gyiibstitexat bac 

peeatet eat 


Pati. nektarciee “ 
fa f ie re 


* os D AN Orn a Sa tae ‘a eae St 

is) aie ry ee ON a a ee mA LR ey Te ALON Leen tre) teen a 
BAe Fatt ak Na Gack. he ky VAD Oe Fell MC Sy ie oa 
; ; : 3 7 ee eee ee ; 


Py hole 4 
this, which in its abundance of power recalls the Roman monum- 
ents of southern France. To this is addad that the architectu- 
ral forms ere rather purely and nobly treated with few Barocco | 
fantasies; further that the entire building is constructed of 
ashlars, an advantase which it shares with the city halls of 
Paris, Rochelle and Rheims. 4 

The facade again follows the arrangement given by the city 
hall of Paris; at both sides are bold pavilions covered by bins 4 
round roofs, with the entrance at the middle, over whichsin ss, @ 
the upper story is a flat niche with the cauestrian statue of , 
houis XIII, behind it rising the clock tower with the elock, 
terminated by a rich lantern. great richness is given to the 
Facade by the relief ornament; in the ground story are masks 4 
on the keystones of the window arches and portrait medallions 
in the tympanums, in the principal story beings crouching lions 
on the window gables, in the upper story are garlands of fruits q 
on the windows, trophies in the pediments of the pavilions, on 4 
whilh rest the allegorical figures of the four cardinal virtues, — 
and finally similar figures as crowning the middle niche afd 
the bell tower, 220 

For the interior is an arrangement withhgreat charn, that the — 
magnificent principal court lies considerably hisher that the (- 

svel of the street, an arrangement already found in allied i 
form in the city halls of Orleans and of Paris. The internal ‘ 
decoration in sreat part belongs to the recent restoration at a 
considerable expense. - 


do ne donne Rea 


“yy Pklecrovics 
ieapsostidose 
“obdetice | pot wit: 

“gaoteons Sid nI +R 


| Odd eotiiess i$ resend “won: 


* . t, ~ 
yee O 


wet loev. oti Edd Beilies (sisorised 
al sds Siw dee 
edd, Tie. exctsé eSE 


r aaa 


cnet 


froe% 


Nee 


ent p> 


Yas | we 


mt: 
ee) ix om ft 
ve ~ oO dank, 


ta ae Leta 
4 Madasteac € 
al ‘ 


“a 
ww 


ok hake rs; I 7) gw st ™ A Perle Soe 
18 aw » ht el ok Oh eel tel WA ow > dad 


ue gaonse 


° 
4 


eat Ce cor ee Mme ATOR Ti aly 
a ¢@ ie ate oe Be Sti 


279 
Chapter IX. Church architecture of the Renaissance 


period. 
95. Its stases of development. 

In Italy,the Renaissance by the energy of its universality 

of its sndeavors assumed in its programme church architecture. 
as well as secular, and also sought to exemplify its artistic 
ideal in buildings for religious requirements. In the greatest 
diversity we meet with this tendency~there; the basilica, the 
nave with a single aisle with horizontal ceiling or with vaults, _ 
Systens of domes or tunnel vaults, or exclusively with the lat- 
ter, and no less do cross vaults come into use. Before all the 
céntral building is employed in combination with the dome, and 
is developed in many transformations as a circular structure, 
& polygon, square or Greek cross. From the earliest beginning | 
goes hand in hand the endeavor to give these works the stamp 
of antique temples by subdivision, construction and decoration 
in the spirit of classical antiquity. 

Ne find nothing of Abisthis in France. After the beginning oa 
of the 13 th century church architecture had taken with unex-_ 
ampled energy the material and artistic powers of the nation, 
and covered the land with such an abundance of church buildi- 
ngs of every rank from the cathedral to the smallest chapel and 
willege church, that after this tendency scarcely anything fur- 
ther remained to be dons. Where in certain cases buildings of a 
one sarlier time were to be completed, or new ones to be erec- 

ted, this occurred intirely in the mediaeval manner in that = 
sag Gothic flamboyant style, that indeed in France developed 

re richness and ornamental fullness. We have siven in $. 
12 examples of these Gothic stragglers, and have found by. them 
that this national style of architecture remained in force un- 
til late in the 16 th century. A still astonishius example of 
the strong adherence to the Gothic style and of its indestract- | 
ible life force is the cathedral of Orleans, which after its 
destruction by the Huguenots, by the arransemsnt of Henry IV 
after 1601 was entirely restored-aeco#dis to the mediaeval 
plan and in the Gothic styis. It is seen by these facts, that 
the old buildings lodges longs remained in power, and that the 
masters of Gothic art were supported by the attachment of the 
citizens’and church corporations to the styles of the middie 


SS 


E49 end oedr 
120) Gavhnes fick eit to etiag fis ni eoectedo 
© ae rife? to 


* 


: “von teom ed? $c 

. ile Mogw sclauccas 
_ beapoze neve €=r Io eat & : 
) elyge at eid to adetdve edt ddiw edegqmoo ot eriugmt 
ats gnodh . bE edt Qo ee he 


7 - . o 
OSel ssa 


Cd : 
= ty Ee my 
Leth tae 


ee - 
amr t shaw 
Wt ae RS oe 


r 8 = o 


x NOR, geneons god 
| stad eecigs cea eB! Fok toe .benisden gers! 
( pabeak | beoives ene Geedd gesol th .ems0d won yd enottonautence 
f ‘ ab | — ‘ ‘ eee » bow *% 2. 


ah Oh as te 955 
we ee Wh 


deg ad bas daiebuso Le mxok add edad eclniad? ocd (eoseda? 


eee + “> & 


OF Ne Oe oe 


gore 
nw = 


oe me ey 
“i a 


ans, ,ticedsento 

tant bas okie 
Stiinta syitzoe 
a rs 


itg ; er ve 
' ) : ¥ 
eILg E j ¢ BRIO 


zt a) eneeer eouste 


"Rk ey 


280 
ages, and understood how to maintain it against the penetrating 
Renaissance. | ‘ 

But when the princes and the high nobility began to erect co 
chatcaus in all parts of the country, which brought the news 
style into use in 2 splendid manner, it could not fail that the 
ornamental charm of these buildings in a time of the most iner- 
eased love of decoration soon made a deep impression upon all 
circles. Among the old masters of the works was even aroused 
tke impulse to compete with the artists of the modern style 
and to give proofs of their knowledge of the antique. About af- 
ter 1520 evidence of this can be found in their buildings. Yet 
bhe antique elemeat but modestly occurred at first and mostly 
in ornamental details, for tradition was so powerful that not 

erely the mediaeval plan with three or five aisles, polygonal 

choir with choir aisle and chevet, but also -thérentire systsn 

of Gothic construction, the ribbed valuts and the great windows 
with pointed arches, the buttresses and flying buttresses,were © 
firnly retained. aut in the details men began to express these ‘a 
constructions by new forms. At least these are noticed in the 

interior? yet alrcady occur piées}etkat are decorated by anti- 
gas pilasters, and the pendant keystones of the vaults go fav- 
ered in this epoch were treated in antique forms with arabesq- 
ues and fisure ornaments. 

Much more sen¢eral is the use of Renaissance details on the 
exterior, Here the buttresses ars covered by antique pilasters, | 
and even cofnices ave connected with antique architraves and 
friezes, tke finials take tte form of candelabras, and the fly- 4 
ing buttresses also receive a decoration in Rengissance forms. 
Mast fully this compromises ne tween mediaeval design and antiq- | 
ue expression is made om the portals and gensrally on the ent- 
ire facade, First are the antique details, orders of columns; 
niches, coffered valuts, as well as manifold ornaments, that 
quite capriciously are added to mediasval design and lend to | 
such facades the character of harmlessly sportive magnificence. | 
But about 1540 a stronger and more scholastic treatment of an— 
tique forms wins control, and soon men applied antique orders F 
of columns with entablature and pediment to Gothic constr 
without peresivins the innate contradiction of such an arranger 

It is striking in all this, how long prance resisted these 


inl , 


or: LA. 
ele qed eng pea séoeunsvedaten: 
Sou endd a. 
ie seve tod 


wees &) s 
adh sgetsonds 


eons nebre! 
, bas: Zeytesnes 


” 


mae PE 
wi ah 


20 ‘gtanob 
‘ ‘Seon esd Score 
© yedebo7g pained! 
 pexta elds 


sobs is Fc 


281 
innovations. ven incRenaissance,chateaus the chapels for a 1 
long time remained entirsly Gothic, thus not merely in Geillon 
(S. 16) and in Chenonceaux (S. 32), but even in Scouen, where 
J. Builant erected the chapel in the Gothic style (S. 72). on 
the Contrary it was again first the chateau chapels, that 240 p— 
ted the severe antique style, and it was P. ds L’Orne, who in 
the chapels at Villers Coterets (S. 29) and at Anet (SG. 68) 
brought classical architecture into use. But in larger ‘church- 
68 this example was first followed in the 17 th century, and 
after S. de Brosse had commenced in 1616 the facade of S$. Ger-— 
ais, soon afterward at the church of the Garmelites and of P 
the Sorbonne (1635) was the Italian dome introduced into France, 
96. Churches at Caan. | 
Normandy, whose magoificent undertakings in the domain of s 
Secular architecture, we have learned to know amons the most 
important creations of the early Renaissance, likewise produces q 
in church architecture a series of works, im which this mixed 
transition style is developed to the hishest splendor. The mas— _ 
terpisce of this epoch, that nowhere finds its equal, is the 
choir of S. Pierre at Caen, begun in 1521 by H. Sohier. The p. 
plan shows a polygonal ending after the Sothic custom with a a 
low choir aisle and a chevet. The construction and form of the a 
piers and vaults ave still mediaeval throughout, but the orna- 
sntation consists of a mixturs of late Gothic forms with det- 
ails of the early Renaissancs, in which the fanciful luxuriance — 
of both styles unite in an effect of incomparable charm © g 
In the interior the star vaults consist of the richest inter- _ 
lacings, and the boldly profiled ribs are besst for their ent— 4y 
ire extsnt by freely perforated scroll ornament, meet in keys— 
tones, that in the form of pendants are freely she pena and | 
are decorated by Renaissance formsin a brilliant manner. Byven 
greater magnificence is developed on the fanciful canopies of 
the niches with statues, everywhere formed in the angles of 7 
© choir aiske and of the chapels. Theres is developed in them q 
from a Gothic base the slender crowning in manifold wat a 
forms by a sportive early Renaissance. 
But the climax is reached by this excessively laxuriant arch 
itecture in the exterior (Fis. 120). Since Gothic construction © 
is here translated entirely into Renaissance forms, es candelabrs 


( 


< 


EY 


4 7 


+ 


oS 


= Fs: ye : P ’ na A 
bintecent a ps a ieee 5 
iq) (eotpicoiteow) eae BE 

Lisod Yo 


7 
wit 


a, eoete 28 seo 


eoreen 


i cbene oits 
foe i: . ; 


VU aks 


er 


Con exidus ed 


: 
} e~ me 
ot ee 


Barar 
Uw ~ + > ~ 
bre star 
fia 


an! 


eiitvoos*! 


a Sweat ae 


Lota ordi 


ae 


oh 


te Ww 
: 


oostaiell 


areting ww 


a8 pea lig yaatddats 
R he rl We 
| itt encio: 


jo a3 tpods 
Btletnda ts aor 


on er i ro. 


282 
or niches crowned by graceful canopies are placed in the butt- 
PSssés, as the most original plays of fancy form the termina—- 
tions instead of Gothic finials, as playful arabesaques fill t 
the balustrades of the roof salleries, and similar composi ti- 
ons cover the remaining surfaces, the spandrelssabove the wine 
dows, the friezes and ths enclosures of the upper round windoms, j 
this belongs to the most spirited and graceful of the entire 1 
Renaissance. The composition is free from pedantic severity 
and here results in an excess of genius, that alone justifies. 
such creations, is so sparkling with life, the execution is go 
elegant, that the whole exists as a true masterpiece not excel- 
led in its way. 
A second creation of an allied kind is seen in Gacn in the 
little church S. Sauveur. It is an irregular late Gothic struc- 
ture consisting of two aisles, that terminates in two polygonal 
choirs beside sach other. One is a fine work of the late Gothic 
flamboyant style, and the other competes with it in the ornan— 
ental forms of the early Renaissance. Likewise here elegant p 
pilasters are employed externally, and also the entire Gothic 
system of buttresses and finials is charmingly composed of Re- 
naissance forms, like a yery sportive parody of Gothic ornamen- 
tation. This magnificent work recalls in its manner the no less 
distinguished architecture of mansion a’Bcoville (9.47). . 

97. Other churches of Normandy. 

To the earliest works of this transition style belongs the 
church at Treport, whose portal is a work of slesant early Re- 
naissancs. It opens with two entirely flat arches beneath a 
great semicircular arch, whoss jambs with a aothic profilésis 
partly décoratead: byznatubalisticsfoliase of the late mediaeval 
style, partly by shells and scrolled bands in ornamental Rena- 
issance, Betwoon these two openings a niche has found its place, 
covered by an antique gable. andiflankediby Corinthian pilasters. 
The upper part of the tympanum exhibits a capricious filling 
of late Gothic canopies and tracery. 

How dimly the masters of that epoch groped about in church 
architecture between both styles, and then even dismounted the 
Gothic style without firmly adoptins the new style, is shown 
i the facade of the church of Gisors. This is a building. of 

ery irregular Gothic design, consisting nf 2 main portal and 


sD at dons bax 


edt. Yo. Ve SE i: a Ges 


at , ? es 


me Fen basctaych 


+ 
¥ 
i 
~~ 
) 
: 


oe ae 


Gala 


ke hn 


Ions ered 


AOFPrane 
Ab ad De bd om ue be 


i “M4 


ens nc 8B: 


Fe Rr 8 Wy 


Paieees 


eee 


en 
S$) tee 


. 


2 
4 


re 


r 
fous 


Ye 


rae 


al ‘ ye 
a4 7 , a 
iow Se. Gabe cs : 
: a 
as -' “ 
mae 


283 
two side dogrways, that are separated by massive buttresses. 
The northern angle of the facade is flanked by a tower dating 
from the middle ages, while at the south in a very oblioue pos 
ition, wonderfully enough a colossal tower rises in the form “ 
of she. beter, Renasissante;:fhat however remain unfinished. Vita 
this exception the entire remaining facade exhibits a stranss a 
and misunderstood mixture of late Gothic forms with Renaissance _ 
motives. The main portal with its colossal round arch is filled — 
by) niches between Corinthian pilasters, and in the tympanum is 
a relief of the dream of Jacob. In the ornamentation of the j 
jambs of the arch and of the side walls prevails the most won- 
derful mixture of the stylas. Gntirely without skill are deco- 
rated the upper part of the middle structure. Over the portal 
arch is constructed a low arched gable filled by rude Sculpta- 
res, and above rises a shrine formed like an open logsia betw- 
een Corinthian pilasters, in its way the best and most ornancn— 
tal part on the entire building. aut if seen as nerley planted “ 
on to mask the magnificent pointed window of the middle aisle 
lying behind it, one recognizes the entire stupidity of the 
architect, who knew nothing more of the ob@ifermfoand nof even 
how to commences the new ones. The same confusion appears on ell 
rae of this srotesque fecade, particularly On the upper story | 

d the octagonal crowning of the northern tower. This indsed 
appears absurd and excessive enough, yet belongs with all a 
améntal splendor of the most wonderful kind. As arthitects are , 
mentioned 8. Grappin and his son Jean. Rather better keeping — 
is exhibited by ths facade of the church of Vetheuil. Choir soil 
tower construction belong to the middle ages, while the sactis-_ 
ty, sisle and portals were completed in 1533 - 1550. If thee 
consecration of the church first occurred in 1588 as stated, | 
this has good reason,for ths upper part of the fecade was maa- 

ifestly not finished carlier. Ons recognizes this by the more $A 
severe style in which the antique elements are here employed, ‘a 
and alrcady the triglyph frieze with console cornica termina 
tes the main building, and is crowned with a classical podinent, 
that cannot have been executed before the epoch of Henry II. © 
Otherwise both on the main portal as well as on the great ioctl 

way of the transverse aisle, that opens on an elegant porte 
ths combination with Gothic forms is simplified, and the endear 


a. 


eat heli 


> al te , 
eiintsebnen ab 


- 
fue 
sm eg 


waniaagt odd 
| wonteD Q¢in so 
et voted 


oly ow . 
dense? ars 


ena 
de ed me 


* 
ance rt 
4 185 


Ratt 
/@ siotser B tae 


DES BO eeidey Fe en care een ae 
my ’ - I Aly Boar vs 


284 
is evidently devoted to grandeur and clarity. Yet here also the 
helplessness of the architect is wonderfully expressed, especi- 
ally in the niche crowning the main portal. ] 

On the contrary truly salutary is the sreat facade of church 
S. Clotilde at Andelys. Here the usdiaevel arrangement is also 
retained, but with the well understood slements of antique ar- 
chitecture is so happily combined in such an eminently artistic 
Spirit, that a great and harmonious although certainly a merely 
decorative effect results. Two principal stories are enclosed | 
by massive coupled columns, Ionic below and Corinthian above. . 7 
Between the columns remains safficient Space for elegant niches 
and othsr filling accessories. In the sround story opens the a 
portal flanked by Ionic columns and divided into two smaller | 
arched openings, that rest on slegant caryatids. The great tyn- 
panum has been intelliBibly also filled here by only niches b 
between columns. Over ail parts extends a luxuriant ornamenta-— 
tion of partly figure and partly plant forms, and the termina— 
tion is formed by a magnificent Corinthian cornice with conso- 
les. A splendid wheel window fills the upper story, below it 
being a very slesant gallery, whose window openings are enclo- 

ed by oorinthian columns. The whole is a creation of high ar- 
tistic value. ee 

In the same style is also completed the transformation of the y 
interior. The Gothic arches are seen to rest on piers that are . 
decorated by Renaissance pilasters; the clearstory pises over , 
an antique cornice with fluted gorinthian pilasters; and even 4 
the triforiun is decorated by antique columns and satablatures, 
although the windows above exhibit flamboyant patterns. For. t q 
the time of the building is not determined by the date*1540, 0 
that is noted on a Slass window, but the ontire artistic char- 
acter spsaks for the splendid epoch of Henry II. 3 ; 

Finally the same developed classical taste is also shown by 
the portal of the church of Aumalc. It is a composition entire- — 
ly in the character of the arch of Titus, a sreat semicircle 
resting on Corinthian columns, between which are placed niches 
with statues of ansg&is. In the spandrels otherwise soar snsels 
like Victories, while the frieze is deworated by laurel branch- ~ 
es .nd ox skulls. A shrine forms the uppsr termination, enclio- - 
sed by Corinthian columns and classical pediment, within which ~ 


¥ 


pane 


in 4 
; 4 y 0) 9 
jox AUER KONO bee 3% scsete) L 
*. i. ” 
cupet athe stdotn 12 
¢, 


atinotas wh hérearn 
St. Sed - rk ha sa ie GORE AS 


» 


ee oat ‘to 
‘ated an 


ane 


4 ike 


r 

F, 
‘pala 
oe 


” 


LL eee : 
okie es shin 
*Be esitonor aoe 
=o 


he a n ebiaioon 


i 
wets. 


“Be repr: 


Le apes 


a a vx 4 be 
Seno #eedats 
; Mii 4 2 


we > She 


eek ob 


e 


etka stil 


64s 


eile ‘Barer bes! 


fi 
ante ail <ehimutoo! siaol 


ay SF. 
ae ao spotcencs 3 


NTC Mr TN ee tT NT) Re COSTA Vee re ce ee : 
> ; pape) i ee LN Lees a teas a Fi OL AEE, any OR AY Pee bie 
oh ee ‘ Oe AR AL oF 2 ee ‘aoe 

1 p "| ie “ti \ AT 


Pie 
Me 


285 ' 
is a statue of the yadonuna with knelling angels at both sides. 
At the angles are smaller nichss with figures of saints, still 
: @ Gothic sense but crowned by canopies in Renaissance forms, 
This late exchangs of musdiasval motives is the more remarkabla, 
Sines the portal bears the date of 1608. « 
. Very mach rarer are the. axamples of thorough treatment of the 
interior in the forms of this mixed style. But one of the most 
remarkable is the little church of Tillieres, that was bailt s 
between 15438 and 1546 (for both dates are found on the monument.) 
This concerns the interesting vaults of the choir, that ends in 
2 polyson and is covered by Gothic pointed vaults. The ribs ex 
hibit elegant Renaissance ornaments on the broad surfaces, and 
the suspended pendants are decorated in the sreatest megnific- 
ence by little pilasters and niches, masks and arabesques, lit= 
tle figures, mingled with volutes, acanthus leaves and ever % 
with some Gothic foliass. The complete character of an already 
luxuriant Renaissance is borne by the luxurious stone reliefs, 
by which all the compartments of the vaults are covered in th- 
eit entire extent. Nude figures im ali foreshortenings and mo- 
vements play a chief part here. Sometimes these are senii,some— ~~ 
times fabulous bsinss with busts of women, sometimes srsat mas— a 
ks with winged beings of various kinds, that with heavy and : 
much scrolled cartouchsjwork, as well as flower scholls and 4 
emblems of different kinds, composins a varied sort. This styis 7 
is not merely unsuited to the church in the highest degrees, sl 
but what is worse --- is inartistic. It is the offensive orn= aa 
anentation of the school of Fontainebleau grown into flower, 
here bearing its fruits, and #hab no longer divides the surf- a 
aces in its ingenious olay, but desires to attract ak ayes in 
its broad glorification of itself. ¥ | . 
Extremely numerous are also slsewhsre the church buildings, | 4 
which then oriSinatsd in Normandy. Thés: we find on the cathe- f 
edral of Evreux that the north facade was executed about 1531 
by J. Cossart in the characteristic style of this early period. 
Later under Henry II was the main facades completed in the dey—— 
eloped Renaissance style. Very remarkable are then on the abbey 
church of Valmont lyins in suins, the stilted round arches on 
Doric columms, the triforiums with their Ionié columns, over 
which is a terminating antique frieze with consoles. On the 


. ee 


eS 


4, 
Be, 


to. esiwoRiat ont. wu3e 


‘84 aah at, Mir © 


Py i 


ronagenes da Sabiben ent walnzadic 


‘rheale woe sed jewerxo consents " 


Pd ., 


elt pprcted. gnois-ei ted? yewkt eidd: cl. seegge 


m bere 
ee 


Hetuae. te0 0: : 
hi) evertacc 2 tn 
pasate SEE: 

© stato got 
“atin eszecit 
ae ge fick 2s . 
mate at soltoga: 
ea sovat CB aGi 
ted seetnc _" 


eee: 
pew dosan Pa 


yee ia Aednenehs 
. ois 6ved B: 
Pie ROI ons 


Fess r 


a. Th ry he 
te! thee WS 


S#: xbe opto Bees 
‘Be the .- te Gee 


ak olen 


PmGX eT yi ppodotHAe Saas G 
SSC carsoa 

a" , 

2 Wey 


ay 


286 | 
contrary, the triforiums of the church at Pont-Audemer are Go- 
thic; but otherwise the mediaeval construction is animated by 
luxuriant Renaissance ornaments. How singularly does this mix— 
ture of styles appear in this time, that is shown before all : 
in the interior of the charch S. Germain at Arsentan, in whose } 
choir aisle the two story piers decorated by Doric and Ionic 
columns contrast very strangely with the ribs of the net vaults 
with their mediaeval sections and their luxuriant pendants (Pig. 
4240. .ihn Se Nata elegant decoration of the hishest rsfinement 
is exhibited by the church of Notrs Dame de Pitie in Longni, 
built 1545 - 154u. particularly rich are the buttresses with 

their double nichss and ornamental terminations, as wel] oe 
the charming main portal. On the contrary the interior is sim- 
ple and there ere especially absent the keystones so favored a 
elsewhere. Asa@in the church of Almeneches near Argentan, that. } 
was completed in 1550, shows this peculiarity richly employed. 
How there still frequently mediaeval and Renaissance there jos-— 
tle each other is shown by the church of Mortasne, which was 
completed in 1535 in the Gothic style, but received a Renaiss- 
ance tower 7 years later. A developed facade in the new styles 
is found on S. Marie at Caudebec, while S. Remy at Dieppe, er-— 
ected 1522 - 1531, combines the pointed arches with Renaissance 
PHBLNS: S. Jacques in ths same city and of the year 1535 shows | 
on the exterior the buttresses decorated by ornamental shrines, q 
nev on the contrary in the Ramee the vaults have rich pend- j 
ant keystones. Sometimes the high tower over the crowning gen- | 
erally common since the Romanesque epoch,in the interior is a 
brought under the sway of Bhs new style; one of the most rem- q 
arkable examples is S. Pierre of coutances, whose central tower : 
is elegantly subdivided by the orders of antique architecture. 
The upper story of the masnificent lantery was only completed 
under Henry III. 
98. Ghurchss of Paris. , q 
The city of Paris in alliance with the Sorbonne during the a 
16 ta esntury played an snergetic reattionary part in all spir- ~~ 
itual contests, especially in those of the religious domain, 
and this is expressed also-in ibscarbisti¢cundértastagsss. The _ 
numerous and important churches, still entirely erscted in the 
Gothic style in this epoch, have been mentioned already in $.12. 7 


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Meanwhile the love of building of francis I still had so mach 
infcuence, that also here under his reign: some churches origi- 
nated, that bear the stemp of the new time in a very prominent 
manner. To these first belongs S$. Etienne du Mont. peside the 
old abbey of 5. Gensvieve had risen since the 18 th centwry 
2 parish church, which at the end of the 15 th century urgent- 
ly required enlargement on account of the sreatly increased 
number of psople. But first in 1517 the building was commenced 
and in 1537 was completed the choir, in 1541 the altars conld 
be consecrated, but still in 1563 the construction still cont— 
inued, and the facade was first begun in 1610. | 

The church presents in the interior a wonderful compromise 
between Gothic and Renaissance, yet so that the latter appears 
only on the balustrades of the galleries, bhé beaded rounds of 
the pier capitals and similar subordinate details. In.plan ahd 
construction still entirely Gothic, it shows 2 polygonal choir 
with aisle end chevst, a high middle aisle with excessively 
high side aisles and low chapels. The impression is unsatisfac- 
tory, Since the misproportion of the heights is not suitable. 
The round piers in the choir are connected by pointed Gothic 
moulded arches, that like the broad ribs of the vaults start 
from the shafts witaout capitals. In the nave the advanced 
Renaissance is expressed in round arches with architraves, th- 


at however more unpleasantly contrast with the loft arrange- 
ment of the building. A remarkable arrangement is the plan oof 
a se that as 3 beaten at the midheight of the middle 


aisle connects the piers and i Rey around them at the back, . 
affording a communication around the entire building. The Goth- @ 
ic star vaults all have pendant keystones, very elegant in 
open work and forming the favorite masterpisce of the entire 
design. In the other hand the windows are heavy and broad with  § 
ugly tracery, the upper being pointed, the Lower round arched. | 
Usly is also the rood scisen with its flat arch and perforated b 
winding stairs. (7). On the contrary the portals to the choir a 
sisle are elegant pisces of decoration in Renaissance taste. q 
In & word, it is Gothic become mechanical, which seeks to deck 
itself with certain antiaue ornamental parts. ; 
It is otherwise with the facade added after 1610 (Fig. 122), 
Its steeply rising general form adjoins the nave, but seeks to 
employ the elements of the antique for divisions yee ornamentation 


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288 
That has not been executed here in an entirely scholastic way, 
yet the interesting work can be regarded as a path-brseaking 
precedent for the soon afterward occurring severe’y antique f 
facades. It is characteristic, that the tall windows according 
tn mediaeval custom are retained, and even the wheel window f 
finds acceptances. The middle part with its elegant Corinthian 
columns is inode 1’Orme’s“French order”, and the richly ornea— 
ented pediment with the second curved gable over it, all parts 
being covered by tasteful ornament, is evidence of the endeav-— 
or made to adapt the antique system to church facades. 

Of much greater value is the beautiful and great church S. 
Bustache, the richest and larsest parish church on the prisht 
bank of the Seine. It was entirely rebuilt after 1582 under 
the direction of a master David, indeed beginning first with 
the nave. The erection ppoceeded slowly, the choir being first 
completed in 1624 and the whole somewhat later. oa 

Likewise we fiyd here 2 strictly mediasval plan, that was 
adhered to with rars consistency in such a lete tims, and #as 
carried out on beautiful harmony. The interior exhibits impor- 
tant proportions and that tendency to too great slenderness, 4 
which again breaks oat in the late Gothic art of France, Tae | 
middie aisle rises little above the four high side aisles,but 7 
has a complete triforium bensath its windows. how chapels enc- qq 
lose the aisles and continus as an aisle around the hish choir. y 
The impression of the interior is extremely light, free and s 
satisfactory. All devslopment of forms extends in the round 
arches and in the finest Renaissance style, that are ornamented 
by rich Renaissance forms. 

On the exterior (Fis. 128, the buttresses and arches, corni- 
ees and windows, the sables of the transverse aisle with their 
portals, are entire translated into Renaissance forms; but th= 
ere is wanting that inspired free treatment of S. Pierre at 
Gaen, and instead of it appears a rather Barocco classicisn, 
thet most decidedly suffers shipwreck On the flying buttresses 
and the windows. On the contrary, a beautiful and very effect- 
ive composition in rich ornamental sarly Renaissance was the 
principal fecade with its three portals, that later and while | 
Still unfinished were torn down and replaced by the architects | 
Mansart, de Jouy and “orsau, by a clumsy work entirely unsuited 


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289 
to the rest cf the building, and which is now seen, 
99. Churches in Isle de France. 
Of that attractive mixture of mediaeval construction and plan F 
with Renaissance ornamentation, many examples are presented by 
@ number of churches in tehe province of Isle de France, then 
again so active in building. We name the church at yontjavoult 
with a portal in splendid early Renaissance, whose rather heavy 
and wide coffered arch rests on a wall with ornamental niches 
enclosed by finted Gorinthian pilasters. The whole is flanked 
by freely projecting Corinthian columns like 2 triumphal arch 
and presents @ very original composition. The most intimate 
mixture of styles is shown by the choir of Notre Dace at ba 
Ferte-Milon, whose Gothic windows exhibit very lete vertical { 
tracery, while the subdivision of the walls is effected by Dor= 
ic pilasters and a high frieze. The number of the year 1568 
proves how late this mixed arghttecture maintainsd itself. On 
the contrary S. Aspais at Melun was built after 1506, end still 
entirely follows those churches that are entirely in the medi- | 
aval manner, but in details belongs to the first changes to 
Renesissance forms. The same is true of the church at Monterau- 
Fault-Yonne, thet in 1584 still shows the same mixed style, but 
with a stronser addition of Renaissance forms. An extremely el- 
egant facade of the new style, luxuriant and richly executed, 
we find on the church at Othis, ahose portal is decorated by 
Doric columns and a fine trislyph frieze. The buttresses have a 
fluted Ionic pilasters an ars no less slegant and splendid. 7 yg 
The building was first completed in 1573. Similar treatment is | 
shown by the @aurch at Bric-Comte-Robert, except that here prée- | 
vails the Corinthian order, which always indicates a somewhat 
earlier time. Entirely in the Renaissance style is built the 
church at Etrepilly. One of ths most beautiful examples is the 
church at Belloy, whose facade originated in 1540, and is’ now 
attributed to J. Bullant. Here belongs also the church-of Sar— 
colles, somewhat later and simpler, but treated in the same 
spirit. About the same is trae of the church at Villers—le-— es 
Bel with its antique buttresses, likewise desisnated as the 
work of Bullant. It bears the dates of 1545 and 1550. Also a 
considerable number of church buildings all bear the character 
of Bullant’s art stwle, as S. Damian at Luzarches, that at 


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290 
Gousseinville from 1559, that at Isle-Adam completed in 1587, 
farther those of Maffliers and of Mesnil-Aubry (about 1582), 
so that one can at least recosnize his influnce or his school 
in them. Of himself it is scarcely to the thought, on the con- 
trary. Tke building last named in spite of the late date of 
igin still shows pointed arches on Doric columns with entab- 
iature and high frieze. 

An attractive building is then S. Maclou in Pontoise, where 
the northern side aisle was erected about 1525, and is attrib— 
uted to P. Lemercier, who in 1552 received the commission to 
complete the tower, From 1556-1578 was then added the southern - 
Side aisle in a more severe style. Somewhat earlier, from 1548 
to 1561, were built 6m the church at Magny the southern side 
aisle and Bhe transverse aisic, the former with Ionic on the 
exterior, the latter with half columns of the sams order on 
pilasters instead of buttresses, The windows are indeed spann- 
ed by round arches, but still have Gothic tracery, though of 
very ugly form. On the transverse aisle rise two ornamental a i 
additions like gables with niches, enclosed by Corinthian pil- 
asters. These parts are attributed to J. Grappin, the architect q 
of the church at Gisorsa To the same master is believed should ~ 
be referred the church of S. Gervais, whose portal of the year . 
1550 was erected in a very elegant manner like the antique. : 

We find a mors severe facade of the year 1549 on the church | 
5S. George at Villensuve, and particularly remarkable ars the - 
two Doric side portals. | q 

100. Churches at Troyes. . a 

A devastating fire attacked the city of Troyes in the year “4 
1524, and destroyed entire quarters of the city afiidiseyen thur- 
thesyogivingiopportunity for niw buildings of all kinds, that :. 
in a general way came to benefit also the church buildings. 
Troyes is still ons of the most attractive and ancient cities 
of France, and therefore presents a series of church nonuments, 
in which the mixture of the Gothic styls with the Renaissance 
is variously expressed. Mostly located in narrow and crooked 
streets of i denssly polupated city, these buildings ars of 
moderates ent and in their plans exhibit intesestins experi- 
ments te pte to the needs of the church in conflict with 
the extremely limited conditeitions nf space. Thus for example 


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291 
the choir is éften rectilinear , to utilize the entire depth» 
bo the next street, but in the interior the middle aisle also 
ends in a polygon, and the side aisles with their chapels, wh- 
en these exist, seek to combine the rectilinear termination F ; 
with the internal polygon by means of artificial -plans of vaults. 
Such is the church of S. Nicolas, that was-entirely rebuilt 
in 1526-1600. It consists of a hish middle and two low and nar- 
row side aisles, all with rich star vaults, that are decorated 
in the choir bays by luxuriant perforated ornaments. The point- 
ed arch still prevails in the arches of the choir, while the . 
nave exhibits the round arch. Most care was here devoted to 
the windows, for their great round archédcopenings are filled q 
by bracery, partly consistins of ugly late Gothic forms, partiy q 
of dry Renaissance motives. At the western end of the nave a 
great stairs at the south side leads to a nasnificent gallery, 
whose srand arrangement is truly astonishing. Likewise on the 
exterior are mixed the two styles, and of thé two main portals ; 
at the north and south sides, the former still entirely belongs 
to late Gothic, while the other moves in the tolerably free a | 
fanciful forms of the Renaissance. | 
Still nore strongly does ths Renaissance with its rich orne- 
mental forms grapple with Gothic construction and plan at S$. 
ie aleon, where the interior has a very picturesque effect by 
> abPupt alternation of forms. The church consists of a high 
die aisle with narrow and low side aisles and chapels. As . 
at S. Nicolas, the ending of the choir is entirely rectangular, 4 
et in the interior has a polysonac or rather a semicircular a 
ending of the middle aisle. In the arches, vaults and the win- 
dows of the side aisles still belongs the Gothic and the poin- 
ted arch; on the contrary the piers of the middle aisle are 
treated as colossal Gorinthian columns, that produce a discord 
oy their broken entablature. Just as ugly is the wooden tunnel 
vault by which the middle aisle is covered. Likewise the round 
arched windows of the clearstory with drm tracery in Renaissa— 
nee forms are distasteful in effect. The exterior is character- 
ized b: hri rich ornamentation of the choir in late Gothic forms. 
Of the portals, the southern is still a work in Gothic, while Bi: 
the northern bilongs to the developed Renaissance. 1 
On the little church of S. jean the nave was Peft substan 


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292 
as burned; on the contrary the choir was rebuilt affer 1524 in 
mach increased dimensions; with its side aisles nearly attained 
the height of the old middie aisle. The vaults of the choir a 
aisle and the chapels exhibit the most luxuriant combination 
of ribs with fantastic perforated ornaments. specially inter- 
esting is the combination of the octagonal ending with the rec- 
tansular form of the exterior. The latter and the bell toner. 
show the same mixed style. Numerous skilful glass paintings ad- - 
orn the church, and enough similar is seen in the other chur- 
ches of Troyes. 

A different plan is exhibited by the little church S$. Nizier, 
which was also rebuilt in the years 1585-1578 after the fire. 
The side aisles continue with three polygonal chapels around 
the octagonal choir; an arransSement that already occurred in &. 
Hadeleine, elsewhere being exceptional in France. The arches, 
vaults and windows, still exhibit the pointed arch, yet this 
is mixed with Renaissance forms in the tracery of the latter. 
Striking are the broad and depressed proportions of the build— 
ing, which are opposed to the unusually slender treatment pre- 
vailins elsewhere in Troyes. The southern portal still shows 
Gothic reminiscences, the norther the forms of the Renaissance 
with columns and sntablature, and the western main portal has 
the last style in an elegant composition like a triumphal arch, 
in two stories and expressed in Ionic and Corinthian oT 
with elesant dstails. 

Tae same form of plan is shown by the little church S$. Remy, 
whosé nave still belongs to the middle ages, while the choir 
with its aisle and chapels, vaults and windows, betrays the 
mixed style of the 16 th century. ! 

101. Churches in the rest of Prancs. 

It suffices to indicate in somesexanples the further extens— 
ion of this wonderful mixed form, that artistically has no gr- 
eat importance, in order to emphasize the general rule of this 
fantastic mode of decoration. 

till dimly varying between both styles appears the facade 
of the church of Tilloloy in Picardy, dspartment of Somme. It 
is @ high and broad, undivided and gabled structure, flanked 
by two round towers with pointed roofs; a composition that 
rather recalls north German than French buildings. the mass 


3¢ 


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293. 
of the masonry consists of bricks, but of cheracteristic forms, 
tne portal, windows, cornice and niches are of ashlars. Here 
tas slements of the Renaissance play wonderfully with the orn- 
anental arabesques of the pilasters, numerous ornamental niches, 
the enclosing, crowning and the members of the portal in Gothic 
details. The latter finds its expression principally in the 8 
Sreat wheel window and in certain tracery ornaments, that stri- 
vé to decorate the high gable oddly and tastelessly. The ghole 
Shows us a bizarre composition, that not even approximately 
attains the full understanding of the antique, but at the same ) 
time has lost the correct use of gothic forms. In the interior 
is found the date of 1534 as given by Palustre; not 1554 as gi- 
ven by Berty and others. | 

As designed at other places about the same time appears a 1 4 
little church architecture of Champagne. In the vicinity of 
Troyes and not far from Rozieres lies the little village of S$. ~~ 
Andre, formerly distinguished by an abbey destroyed in the 
Revolutiou. The parish church is in itself an unimportant buil- 
ding, but attains importance by an unusually grand and magnif- 
icent main portal of the year 1549. It is one of the richest 
compositions of this kind, that the epoch of Henry II produced, 
and cannot easily be surpassed by a similar one. The antique 
euclusively predominates, with full understanding of the forms, 

$ 


— 


also without any scholastic dryness, rather expressing it- 
slf with the force of a luxuriant imagination. The whole con- 

ts od two orders of four Corinthian columns like a triumphal 
arch, that in the Sround story formitwo entrances of equal hei- 
Sht and width, in the upper story enclosing two sreat round a 
arched windows. A magnificent frieze: with dentils separates ! 
the two stories, and a frieze with consoles and an antique ped— 
iment crowns the whole. The portals and windows, the niches and 
the framework of the side divisions, the stylobates, indeed the 
remaining surfaces are covered by lavish ornamentation, and f 
festoons of fruits and flowars are even placed on the shafts 
of the columns in festal splendor. Between the two windows is 
ths statue of S. Andreas, and two other figures of saints fill 
the niches of the upper story. 

Of similar design appears the portal of S. martin of the ch- 
urch of Notre Dame at Epernay. A richly coffered arch is enclo- 
sed by two orders of coupled Corinthian columns, and a cornice 


ee 


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fins: anotec Ita neidintaod yd bemefoae oxs sent .pyotnego 
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si a ed3 Io optete edt nece cl aenloo Eoderteseb 
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PORE TASTY? | RO ee ee kee amo gS: ACA) Reem | 


294 

with consoles and an antique pediment here forms the terminat-— 
ion. Yet there rises above it a narrower addition, whose tris- 
lyph frieze is borne by two caryatids. At both sides are volu-~ 
tes ending in plant scrolls, that make the transition to the 
wider substructure. The portal itself consists of a doubled o 
Opénins with arches resting on consoles. A rich band separates 
this part from the great round arch like a triumphal arch, th- 
at encloses both openings. Its tympanum is filled after the 
manner of a wheel window with five divisions, a last reminise- 
ence of the middle ages. All members and surfaces of this mag- 
nificant work are covered by luxuriant sculptured ornaments. 

Also in ths south we find a@ similar show pisce in the portal 
of the church of Dalbade at Toulouse. It likewise exhibits two 
openings, that are enclesed by Corinthian pilasters and fluted 
half columns. Above it an entablature with frieze with elesant 
arabesques forms the termination. In the middle on a richly 


decoratsd column is sesn the statue of the Madonna, while st 
both sides are ornamental niches intended for similar ornamen- 


taticn. The tympanum is opened by two windows with rich enclos—— 
ing arches, and tas upper termination is crowned by an antique 
Sable above g&iuniche. The composition of the whole yet hes some- 
thing uncertain, the decoration is rather sportively fanciful, 
which refers to the time of Francis I. 

On the church of S. Sernin the sarily Renaissancs, as on the 
church Delbade, has placed a special show piece in the elegant 
portal of the south aisle. Executed in a limestone like marble, 
it is one of the most ornamental compositions of the time of 
Francis L, A high arched sateway rests on finely membered encl- 
osing pilasters, and is flanked by a system of projecting slen-— 
Ger little columns, whose shafts are banded and their upper p 
parts are as if breathed on by the most subtie ornaments. In 
the spandrels of the arch are seen medallions with destroyed 
fillings, in the frieze and the hish tympanum, which terminates 
the whole undar a simple gable, extend the most delicate leaf 
scrolls. This beautiful portal as well as 411 other works there 
of this epoch are attributed to an excellent native artist, N. 
Bachelier. Also the portal of Dalbade is referred to hin. 

On the contrary there always belongs to the 17 th century 
(according to an inscription erected 1611-1632) the church S. 
Florentin in Burgundy, department of Yonne, 2 building notable 


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by the elegant facade of the northern transverse aisle. The h 
high and narrow gabled structure is flanked by polygonal towers 
and shows in three stories a decoration by Corinthian, Ionic 
and then again Corinthian pilasters, a magnificent cornice with 
consoles, an slegant portal and finely membered niches, all ex~ 
ecuted in noble and fluid treatment with good artistic fesling. 
It is one of those examples, wheres the form of the antiaqus is 
mere decoration, but has taste and refinement and is adapted to . 
an entirely different mass of building. i 

These isolated examples to which might be added many others, 
suffice to sive us the model of a little village church of this 
time. This is the church at Chambord (Fig. 90). The otherwise 
unpretending building is characterized by a facades, executed 
in the light and graceful manner of the time of Francis I, Al- 
though merely a decoration, it still is in pleasing proportions, 
an unusually happy clevation and the graceful execution is for 
consideration. 

102. Towers. 

The less the Renaissance in France knew how to commence with 
the interiors of churches, the more immovably the arrangement 
and construction of the Gothic maintained itself against the a 
now forms, and the mors zealously occurred the endeavor to en- 7 
sures to the exteriors of the churches a part of the expression a 
cf the new style. This was the case already on portals, facades 
and other details, as we have seen, and this attempt reached 
its climaz on the towers. Independent works as they are, at 7 
least in their uppar construction, they easily allowed then- 
selves 60 be treated according to a definite system, and pern- 
itted the dscorative use of antique members in a tolerably free, 
indssd often in @ very successful manner. The plancvand constr— . 
uction then remains mediasval, in so far as a system of strong 
buttresses and lighter filling walls opened by sound openings 
formed the basis. but meanwhile on the separate storissnwere | 
placed the antique columnar orders as a decoration, and by | a 
boldly projecting cornices were obtained sharply marked horiz— 4 
ontal divisions, and instead of the unbroken extension and dim- 
inution of Gothic towers was opposed that more pleasing moven- 
snt by caythmic divisions, which forms ths ground principle of 
ths antique elevation. Frequently the solution of the problem 
is unusually happy, truly artistic, and in such cases one recalls 


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296 

the beautiful towers of the Romanesque time, which follow the 
same law of horizontal division. : | 

But the most difficult point od the problem is found in the 
termination of such towers. Against the slender spires of the. 
Gothic time the Renaissance has an easily understood dislike, — 
that was seen in the deliberations on the completion of the ¢ 
tower of the cathedral of Rouen (S. 78). As in that case men 
sometimes decided for a flat terrace roof, so that the termin- 
ation was made horizontal.in the antique sense. Still ths old 
custon was still strong cnough in most cases to make a more . | 
slender ending desirable, in which the aspiring tendency app- : 
eared and provided an artistic sdhution. Yet svin. here the an-— 
tique convictions made themselves felt, so that iz & pointed ! 
gable roof, but a softiy curved iins of a dome thus came into use. 

The most beautiful ekample of such towers is indeed presented : 
by the towers of the cathedral of Tours, whose northern one was 
already completed in 1507 according to an inscription on the ‘ 
keystone of the lantern, which the southern was finished ini i547. — 
Still Romanesque in the lower parts, they exhibit above the nave 
-ix elevation in the splendid forms of the Renaissance, indeed | 
in the most charming and piguant way. Orisinal is made the tran- 
sition to the octagon, when at the four angles stand elegantly 
membersd piers, from which flying buttresses extend over to the 
middle structure. A perforated gallery extends around the base 
of this story, and a second one indicates the besinning cf the 
néxt story. From thence the structure diminishes, concluding 
with 16 ribs like a dome, then later rising vertically like a 
lantern to finalln end’ with a little dome. Ths decoration is 
of inexhaustible variety and full of graceful invention. The . 
antique forms, fluted pilasters adorned by lozenges or arabes— 
jues, the cornices with their dentils and consoles, the friezes | 
witah their arabesques, the vase-shaped additions, all is empl- 
oyed in a spirit of fres genius, and likewise the mediasyal el- 
ements are freely combined with them, the coffered flying but- 
tresses, the luxuriant crockets, that are added to them as well 
as to both domes, the sound openings with their little dividing 
columns, and finally the water spouts of the cornice. To theses 
are added free sportive motives, like the 8 little columns with 
caps likes vases, that surround the lower dome. In brief, it is 


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297 
again one of those fanciful and highly original crsations, in 
which the school of Touraine was so rich at the tims of the 
carly Renaissance. Further the north tower by its unusually 
early date belongs to the small number of buildings, in which 
the Renaissance first came into use in France. 

In @ no less important way occurs a stronger antique concep- 
tion in another examplis, the towers of S..Michel at Dijon. Here 
the entire great facade is subjected to the Renaissance style, 
althoush the plan and subdivision entirely belons to the midd- 
le ages. Three nighty portals of .lmost equal height and width 
open in serrate round arches into as many deep porches. Their 
wails are formed in niches with statues, but the vaults are in 
tunnel form with freely treated coffers and rich ornament in 
relief, Very original is the idea of opening the middle vault 
like a doms, sco that its crowning lantern projects beyond the 
horizontal termination of this lower story in a wonderful way. 
In the members of the towers (fis. 125) the four antique orders 
of columns are employed with sreat skill, so that in this res- 
pect the ‘buildings can be regarded as a model. The termination 
is formed by a small cctagonal lantern, that freely rises dir- 
ectly from the upper story. The part of the facade between the 
two storiss shows two sreat blind semicircular windows with 
tracery, but ds a termination of an open gallery between Gorin— 
thian columns to mask the gable of the middle aisles, 

Likewise in other provinces of France are not lacking Renais— 
sancs towers. An interesting example is shown by the church of 
Argentan in department of Orme. Here after tas Norman way thers 
fises on the transverse aisle a late Gothic tower; but at the 
north of the facade stands a greater rectausular tower wita 
two octaganal upper stories, which ends in a dome. Then are 
divided by pilasters with Corinthian columns above them, and 
the transition from the rectangle is effected by piers and fly- 
ing buiteesses in mediasval fashion, but in Renaissance formsa 

We recognize the change from the middle ages to the new style 
on the parish church of Bours, a stately work of the early ep- 
och. When at the rebuilding of the church of Brou the parish 
offices were transferred to Bours, men began the erection of 
an important parish church. Lb. vag Boghem was sppointed head 
master in Dec. of 1514, under whom were several master masons 
of the city executed the work. Arrangement and treatment plain- 


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298 
plainly recall the church of Brou, only that all is made Simp- 
ler, changed from the princely to the civic. The high middle 
aisie is there accompanied at cach side by two lower side sis-— 
les, all being again covered by star vaults, except that the 
proportions are more slender than there. The choir has five 
sides of an octagon, also free pendant perforated keystones 
in the vaults with a fantastic effect. Skilfully wrought. choir 
stalls with great figures of saints in low relief on the backs: 
exhibit skilful treatment, and in the ornaments are again infl- 
uences of ths Reneissance. 

He see here 2 wavering between Gothic and Renaissance, yet 
the latter has finally attained the victory by a very stately | 
facade with a tower crowned by a dome. Indeed there still play 
mediaeval ideas in the form of the portals, particularly in the i 
méembéring recalling Romanesque portals; but the three systems | 
of coupled pilasters and half columns, that animate the buttre- 
esses, as well as the octagonal dome Shab terminates the tomer, | 
entirely belons to the Renaissance. On the southern portal is 
read the date of the year 1545. 

A composition of an original stamp and executed entirely in 
a classical sense, is then shown by the tower on the facades of | 
S. patrics at Bayeux. The substructure is flanked by buttresses, 
which end in Doric columns. A cornice with consoles forms the : 
termination. Then follows an upper story with Ionic columns, 
that includes clearly divided opsnings for sound. The tower t 
then diminishes first by a story with Corinthian pilasters, ab- 
ove which rise two round stories on piers and opened by arches, 
crowned by a dome and small lantern. This is a successful exp- 
eriment to competes with the diminationsin the elevation of G 
Gothic towers. ! 

To the most original of these buildings belongs the bell toyw- 
er of the church at S. Amand. (Nord). The facade rises as a 
mighty mass in five stories divided b: systems of luxuriantly 
dscorated pilasters and columns, also by strongly Barocco nich- 
es of the most varisd forms. Bold projeotions at both sides are 
crowned by octagonal additdons with classical endings, while 
on the further reduced middle:cstracture; rises:an octagonal mass 
in three stories as & massive main tower, first endings in ad 
dome, then terminating with an upper part. The sntire building 


retigte pata to Sigqgize oa svig: ‘cals on ylisakt” 


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299 
‘is one of the most imposing of its kind, truly Flemish, dry 
and luxuriant, first completsd in 1633. 3 

Finally we also sive an example of those mighty Norman cros- 
Sins towers, that are peculies to northern France. This is the 
tower of the church S. warie du yont at Charenton. Above a Go- 

thic principal story rises an octagonal superstructure in two 
Storics, terminating with an open lantern and crowned by a 
dome. The forms have the stamp of a sportive Renaissance. 

103. Chapels. ‘ 
_ The transitiou to a more classical and even scholastic treat— 
ment of the Renaissance is formed by several smaller works, p 
particularly chapels, in which it was possible to diverge inds- 
pendently from the design and construction of the middle ages 
and to attain to new forms. Yet among these are not wanting of- 
ten very graceful works in examples of the already frequently 
described mixed transition style. 

To the most interesting representatives of this mixed species 
belongs a little chapel in S. Jacques at Rheims, of which our 
Fis. 126 sives a view. As this shows, mediaeval motives still 
Setermine the plan, construction of the vaults and the form of 
the windows; but the round arch is everywhere used, the Gothic 
moulded ribs of the vaults rest on antique abacuses, cornices 
and entablatures, that are supported by coupled Corinthian col- 
umns. What could probably not be carried out in great dimensi- 
ons, here. becomes in the small proportions a both graceful and 
piquant contrast and the expression of frac grace. 

A composition of highly original stamp is then the little 
chapel of S. Romain at Rouen (Pig. 127), that was built in 1642 
in place of an old one that had fallen. It is a little building 
like a triumhal arch, in the ground story having merely a door- 
way, the principal story again opening above as a rectangle at 
all sides with an arch on piers. Qoupled Corinthian pilasters 
divide the piers above and below, the termination being formed 
at each side by an antique sable, over — crossed roofs ri- 
Ss8s an ornamental lantern ia two opened storics. It is indeed 
one of the earliest dated among these lesser buildings, on wh- 
ich the classical world of form is purely and completely expr- 
essed. 

Still more developed and thereby more richly exe cuted is the 
masnificent chapel of S. Ursula in the cathsdral of Toul, of 


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300 
which we sive a view in Fis, 128. It is there determined by a 
documents, that bishop Hector d’Ailly, who died in 1582, found- 
ed Zounded and left it anfinished at his death, and so we pos- 
sess here perhaps the carliest example of a severe domical plan 
like the antique on French soil. The chapel is built at the e 
eastern end of the southern side aisle and has a rectangular 
plan, with an order of Doric pilasters and columns in the grou- 
nd story, over this being an Ionic upper story, that in the an- 
gles by projecting columns forms the transition to the octagon 
and to the coffered octagonal dome in a very sensible way. The 
proportions are beautiful, the treatment of the forms is simple 
and noble, the general effect of the interior being unusually 
attractive. The same founder built on the northern side aisle 
&@ Similar show piece, the so-called chapel of the bishops, li- 
kewise in an elegant Renaissence style. 4 

In the sreat antique eemetery at Aliscamos near Arles lies 
a half destroyed mediaeval monastery of the Romanesque period. 
At the southern transept it received a chapel, that is an ele- 
gant work of the best Renaissance tine, & squars room with si- 
esant Corinthian columns and finely ornamented shafts placed 
in the angles, is terminated by a likewise richly adorned cor- 
nice with consoles and a frieze covered by magnificent acanthus 
scrobhls. Above is developed 2 high vault from four ascending 
compartments, that sti¢¢ in mediaeval form are connected by A 
cross arches. They unite in a Squars skylight, that is croaned 
by a little dome. Tae whole originated about 1550 and is very: 
elegant and fine. | 

Another similarly traated chaps] beside the former is not m 
mach later. It differs from that only because it is an octago-— 
nal plan, octagonal vault and skylight, ali this of allied con- 
struction, but furnished with a Doric triglyph frieze. The 8 
angie columns probably belonged to the same antique order, buat 
have disappeared to their pedestals. 

About the sams time Sook phinio tendency also appears on 
the castle chapels, that as we have seen were previously Gothic. 
To the earliest cxamples belong the chapel built by P. de b?Orme 
in the park at Villers-Coteret (S. 29), as well as the two ch- 
apels that he erscted at Anet (S. 68). Of the latter, the one 
placed in the chateau itself is indesd the first church buildings 


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301 

in France, which develops the round Roman dome entirely in the 
antique sense. 
104. faurches in the severely classical style. 

Larger city parish°and monastery churches adopt the con- 
ntly developed Renaissance style only late, and preferably 
sie where the foundins or the continued interest for their 
erection proceeds from the coubt circles. One of the earliest 
examples of such church facades severely developed in the ant— 
ique sense was given by P. de 1’Orme on S, Nazier*at Lyons (8s 
66). But a more general result was first brought ‘by the begin 
ning of the 17 th century, and we can designate the already 
considered facade of S$. Gtienne du Mont (S. 98, Fis. 122) as 
the transition to this new conception. 

S. dé Brosse then was the one that made the decisive sdvyance 
in rebuilding of the facade of S. Gervais at Paris. Louis xX999 
in the year 1616 laid the corner stone of this, and the build- 
ing rose rapidly. It was completed in 1621. The facade is a h 
hish structure decorated by the antiqus columnar orders. The 
columns are coupled in order to obtain a bolder effect. In the 
two first stories they even occur grouped by fours. A curved 
tympanum terminates Bhe whols. The main portal is semicircular 
at top and crowned by a gable. The upper storr contains two 
round-arched windows at the middle, in the side divisions beings 
Sreat niches with the statues of 3. Gervasius and S. Protasius. 
To connect the higher middle building with the attic of the 
wide lower story, there are placed pisces of concave ogee arch- 
es, abdwhosscfsetistandcthe evangelists in sroups. Likewise the 
terminal gable of the facade is advanced by reclining statues. 
On the saperficial and puerike character of such a facade no 
further words are needed; Gunuiiaies on tee discord in which it 
stands to the interior of the ent y Gothic building. But as 
the matter exists, Since the ovite urs ever became more modern 
and turned away strongly from the middle ages, such a composi- 
tion being called into existeoce by the hand of an important 
artist, must aid in the victory of the new style. ! 

Ais then sse this a few years later on the Jesuit church of 
S. Zouis and S$. Raul, which was begun in 1627 and completed in: 
1884 at the cost of Richesliesu. F. Derrand, one of the many art—" 
ists of the dJasuit order furnished the plans from which it was 


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302 
built. On the facade again appearcthres orders of columns, but 
they have exclusively corinthian forms, that in combination w 
wilt luxuriant ornamentation, especially on the friezes, intro-— 
duch that coqusttish style, which is cheracteristic for the J 
Jesuits. Their love of pomp was especially weil claculated, for 
they sought by all means to corrupt the sense of the people and 
to win them for themselves. In other directions these churches 
became epoch-making. they were the first in France that added 
the dome to their nave, although not in | prominent manner. 

Soon followed therein the little Garmelite church in Rue de 
Vaudirand, that however was still built in very moderate din-. 
ensions. Thereby was also a path broken also in France for the 
truly sreat and crowning ideas, which the Renaissance had cre— 
ated for church architectures. In the inexorably strict conseq- 
uence of the Gothic style, in the sreat trend of ibs movement 
in height, the dome still finds no place for itself. The Roman- 
esque style could adopt it and use it for beautiful effects; 
yet where it occurs in Gothic, the organism always suffers and 
the harmonious effect of the whole strictly combined together. 
But where it has full justification, indeed comes to the high- 
est artistic transfisuration, is in the church architecture of 
the Renaissance. On the effect of the buildings indeed depends 
not mersly the understanding, bat far more the imagination, t 
Ghat wita full risht acquires from every artistically treated 
interior a definite expression. Who can deny the wonderful ef- 
fect of the interior of a Gothic cathedral like Amiens, Rheims, 
Tours and so many others. But who may eStimate as less the im— 
pression of S. Peter in Rome, the expressions of the smaller 
and more modest domed churches of the Renaissance in Italy. 
Where these works have something chilly in tha later epochs, 
this comes almost never on account of the proportions, the form 
of plan, the exterior in generally, but only from the neasly al- 
ways monotdnous or overhoaded form of the details. 

Thus with the dome was also intriduced the first nore import— 
ant structure of this kind, thet arose at the ordsr of Richel- 
isu after 1635 in the church of the Sorbonne (completed 1653). 
Lemercier erected this building. The dome is accompanied by f 
four little campaniles and rises over the crossing, its drum 
being abundantly lighted by 8 great windows. The fagade of the 
charch exhibits an order of Corinthian columns, above which 


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303 
rises a likewise Corinthian order of pilasters. A simple pedi- 
ment forms the termination. 

In more important dimensions was erected then the dome of the 
monastery of Val de Grace. Anna of Austria during a lons child- 
less marriage had vowed a magnificent House of God, im case she 
obtained in heir to the throne. After she bore fouis XIV, she 
fulfilled her vow and in 1645 laid the corner stone of Val de 
Grace, whose church was built from the design of F. Mansard. 
Yet it was pemercier, who erected the greater portion of-the 
building, and only efter 1654 was the dome completed under P.. 
Lemust and G. Leduc. The latter had made his studies in Rome 
on S. peter, that he utilized in a fortunats way on his crea- 
tion. The effect in the interios is light. and free, and the 
exterior, ths beautiful outline and the suitable ornamentat— 
ion also Sive harmony and grace to the exterior. 

105. Ornamental works. | 

An epoch that like the Renaissance in @ hish desrse pursues 
decorative tendenciss, will also undertake cxesllence in such 
works that very properly form the protilem of the art of decora- 
tion. For our spoch there occurs as an aiding circumstance, t 
that from the middle ages hed been inherited a sound practics 
in the mastery of the different technical experiences. This 
skill in manual work was now developed under the inspiration 
of classical studiss and the influence of Italy to pure beauty 
and clevated masnificance. Only the fault was, that even here 
that luxurious deseneration set in too sarly, which was to 
bring into powsr the Barocco styls. 4s can emphasize in the 
Sreat abundance of existing works only a few characteristic 
examplas. 

For decoration in stone are chicfly characteristic some choir 
seresns and chapal enclosurss, of which we first have to oame 
thoss én Notre Dame at Rodez as works in the finest ornamental 
taste. The open screens are subdivided by pilasters and arches, 
the surfaces are all filled by precious arabesques, with @edal- © 
Lion heads in the spandrels, and on the crowning frieze are 

sen genii with eens scrolls. These works belons to the un- 
dertakings of bishop =. d’istaing, who from 1501-1529 erected 
the western porteion of the cathedral, and equipped the choir 

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304 
colonnade in gilded bronze. A distinguished native artist, N. 
Bachelier, conducted the execution. To these also belongs the 
magnificent organ gallery. | 

rikewiue in Normandy is there not mantias distinguished works 
of this kind. Te mention the chapel enclosure of the church at 
Fecamp (Fig. 129) executed tn magnificent early Renaissance, | 
the similar enclosare in S$. Remy at Zieppa, but particnlarly 
the extremely noble and fine chapel enclosure in the cathedral 
of Evreux, that is indsed the most charming, which of this kind 
the sarly Renaissance has’ created in France. It assumes still 
some Gothic elements, and combines therewith 411 the Renaissa- 
ance ornamentation in the most beautiful design and the finest 
execution. 

Notable for their rich sculptured ornament are the choir en— 
closures of the cathsdral of Chartres. They partly date from 
the last epoch of the middle ages, and parts bear the stamp of 
the Late Gothic style. But in the besinnins of the 17 th cent— 
ury (tke dates 1611 and 1612 ars read) by a skilful artist, T. 
Boudin, the work was continued and completed, wherein Biba rare 
devotion he sought to adhere to the style of the older parts. 
according to his forces. The architectural ornamentation is & a 
therefore like Gothic in the general conceptiou, but in the | 
details and especially on the under surfaces, bears the. charac- 
ter of an extremely fine and pleasing Renaissance, that still 
bears the character of the early time. 

The best Renaissance style is then shown by the magnificent — 
marble snclosure of the chotr of S. Remy at Rheins, which sur-~ 
rounds tha tomb of S. Remigius. It was erected in 1537 by car— 
dinal R. ds Ssnoncourt, and in 1847 was completely restored. 

Among the most extensive masterworks are the snclosures, that 
screen all chapels of the cathedral of Laon, 28 in all(Pig. 180). ) 
gxcsptinsg three somewhat earlier ones on which occurs the date 

of 1522, they are from the years 1574 and 1575. They exbibit 
sreat diversity, especially in the ornamentation of the lower 
panels and the upper parts, wherewith the Barocco cartouche 
work of that epoch strongly harmonizes. The subdivision is 
made by ornamental fluted Doric columns, between which smaller 
columns of the same order divide the panels. The termination 
is formed by an sntablature with a rather dry triglyph frieze. 


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305 
Theseinterestins works area partly painted and silded. 

Of organ galleries is particularly to be named the very rich- 
ly sculptured one of the cathedral of Gisors, and as further 
evidence of the ornamental richness of the Norman school, we 
finally emphasize the magnificent stairs in §. Maclou at Rouen, 

A splendis altar of 1549 is found in the church of Ravenel 
(Isle de France), rich bat rather heavily treated. Another al- 
tar in the chakeh at Plessis-Placy is adorned by the legend of 
S. Magdaisne by a master Theodore. In S. Gsorsge in Cambray is 
seen a finely wrought rood screen of 1545, which is distinguis— 
hed by its fine ornamsnt. A magnificent baptismal font with 
Charming sculptursd decoration is found én the church at Magny. 

Yet more luxuriant is the love of decoration of this time in 
the wooden work, in which the art of carving inherited from the 
middle ages is combined with the entire wealth of ornamental 
forms of the Renaissance. We first name some choir stalls, am- 
ons which those of Auch still chisfly belongs to the Late Gothic 
styic, but in the details of the consoles and of the misereres 
aS in the ornaments of the cornice, adopt the forms of the Ren— 
naisance. From the year 1685 date the chotrcsteabis in Sz.cBerés- 


itional Gothic elevation with its canopies and shrines, f 
finials, flying buttresses and pendent keystones, with spirited 
fresdom is translated into the forms of the Renaissance. Of gs 
special masnificencs are the two bishop’s seats. Richer carved 
decoration i: added thersto, on the arms beins fanciful crouch- 
ing figures, on ths backs ars sibyls, prophets and apostles. — 
A still mors luxurious show pieces is the high alter adorned 
by sirens and other fanciful forms, and crowned by five high 
canopies. In these works prevail something of the exuberance 

of contemporary Spanish ornamentation. Also the arrangement 

of the high choir in the middle of the navs recalls the cust— 
oms of that country. These works with the likewise splendidly 
treated organ were founded by*bishop J. de Mauleon. 

That occasionally even in the late tims elegant works of this 
kind were executed is then proved by the choir stalls of the 
cathedral of Bayeux, @rom the year 1589, and those aa S. Pierre 
at Toulouse, which fall in the time of Louis XIII. By a stronger 


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306 

classicism are distinguished the former by ths noble elevations 
the sracefal little Corinthian columns end the rich ornamenta— 
tion of their members, while in the panels of the backs of the 
unsuitabls fantastic crownings in the 2arocco style with its 
lack of proportion all is overgrown. The choir stalls of S$. P 
Pierrs on the contrary have in thsir backs a monotonous pansl-_ 
ins, by which the magnificent open leaf scrolls of the sides 
are injured. 

Amons the carved church doors, those of the magnificent north 
portal of S. maclou of Rouen merit the prize. Within beautiful— 
ly conventionalized frameworks aro a number of Biblical scenes. 
Anothsr show piece is the southern portal of the cathedral of 
Beauvais in that sportivs easy Renaissance, that just in orna- 
mental works develops the most precious charm. The crowned sal-— 
amander in the arabesques of the lower pansls denotes the time 
of Prancis I. | 

A splendid work is then the portal of S. Wulfram at Abbeville 
of the year 1550, by its statues of saints in Renaissanes nich- 
es, by scenes from the life of the Madonna with gracefully sp- 
ortive crownings and adorned by a frieze with a representation 

’ battles. Very richly carved in the style of the early Rena 
issance ars also the portals of the churches of 3. Antoine and 
of S. Jacques in Compiegns. Splendid choir stalls are seen an- 
ong others in the church at Goupillieres in Normandy from the 
year 1582, then in the church of Shampeaux, for which a master 
falaise was called from Paris. Slesant works of this kind are 
also seen in S. Crepin at Chateau Thierry, 20 niches with stat— 
ucttes of sibyls and virtues, enclosed by ornamental pilasters 
with arabesaues. 

Finally here is to be 
S. Nicolas at Troyss 
ment strikinsty r scion the noble marble pulpit of B. da Majano 
in S. Sroce at Florence. Graceful Corinthian columns with ans-— 
els’ heads on thsir shafts, that hold in their mouths little 
sgarlandr, stand at the angles. The ornament throughout is with 
Sreat charm, but is treated in a certain modast simplicity. 
Likewise the sounding board is finely arranged and nobly decorated. 

fe know nothing of works in bronze ornamentation to be nentioned, 

106.. Tombs. 


tioned also the beautiful pulpit in 
; im-exterior, UIP AE and treat— 


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307 
106. Tombs. 

fo the most splendid undertakings of Renaissance art belons 
the monuments for the dead, in which prevail relisious feeling 
and love of worldly fame, a refined love of splendor and an e 
elevated art feeling. What the transition epoch created in this 

espect was described in S. 20. That also occasionally Gothic 
traditions played a great part herein, isppoved by the incomp— 
arable mausoleum of the church at Brou with its magnificent 
tombs. Yet after the reign of Francis I, also in tombs the Ren-. 
aissance soon attained to its rights, and there arose everyah- 
ére in competition monuments, in which the new art reached its 
full development. the two principal types transferred from the 
middle ages are the wall tomb, of which a masnificent example 
was already given by the monument of the cardinals of. Amboise, 
and the isolated tomb, that consists of a more or less richly 
ornamented sarcophasus (tumba). The Renaissance developed from 
the latter the conceivably richest and highest form, when above 
the sarcophagus rose a kind of shrine as a canopy. On the form 
end dscoration of these tombs a determining influence was exer- 
ted by Italian art. A stately wail tomb of the early Renaissa-— 
nes is the monument of duke Rene II of Lograine, the victor 
over Charles the Bold, in the Franciscan church at Nancy. It 
exhibits a childish and helpless application of the new style, 
but remains én wwe free from Gothic tendencies. There is seen 
in a rectansular flat recess the deceased in the ducal cantle 
kaseling on his prayer desk before the Madonna, whdcstands én. 
& pedestal and daeaein her Child opposites him. Arabesaues, sheils 
and other Renaissance ornaments decorate the borders, which are 
enclosed by two short pilasters with free Corinthian capitals. 
On the upper frisze appear trefoil arches as the last isolated 
scho of the middle ages. Above is an attic with 6 little fisu- 
res of saints in shell nichss between fins pilasters. An incon— 
ceivably rude and ugly cavetto with angles holding arms and w 
wonderfully curved acroterias form the termination. Between is 
God the Pather with two angels prayins to hin. 

A somewhat simpler monument of the same kind is that of bish- 
op Hugues des Hagard in the church at Blemod-ies-Toul, depart- 
ment of Meurthe. Yet according to the custom of the middle asses 
the deceased here Lies stretched out on his cushion, and above 


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308 

him is seen a rare occurrence in such places, the figures of 
the 7 free arts, while on the plinth are placed figures of | 
mourners that hold a band with the inscription:- “Born, labor, 
die”. The architectural enclosure is within the forms of the 
early Renaissance, in which however the nediasval pitagsti cs 
still plays. | 

A beautiful example of these wall tombs is the monument of 
cardinal Hemard of the year 1548 in the cathedral at Amiens, 
below with pilasters and above with statuettes of pirtues in 
the wide niche flanked by pilasters, within which the deviondun 
kneels before his prayer desk. Original and riéhly executed in 
the cathedral of S. Omer is the tomb of Sidrach de fLalains of 
the year 1534, made by G. Monoier. It is placed between two ° 
piers of the choir aible and is supported by a magnificent con- 
sole, thab rests on a column. The very elegant monument bears 
throughout the character of the carly BimeicAlsosthere is the 
‘fine tomb of bishop Sustachs de Croy of the year 1588, ths work 
of a master J. du Brosucq. One of the most ornamental of such 
monuments ig the wall tomb in the church of Maimnelay, and it 
stands on two elesant consoles on an Ionic column, not unlike 
that of S. Omer. In 8 truly Prench conception appears above 
the inscription tablet two grinning skeletons as busts, A deta— 
ched tomb in the noble style of the finest early Renaissance 
is the monument of charles de Lbalains in the museum at Douay, 
formerly in the abbey de Pres of the year 1558. On a. sarcdpha— 
sus of black and white marble, adorned by littic Corinthian 
pilasters with medallions between them, is seen an expressive 
knightly form lyins extended. In the medallions are represented 
busts of allegorical figures of the virtues. Another monument 
is preserved in the choir aisle of the cathedral et Narbonne, 
which belongs to the most elegant works of this kind. Between 
the northern piers of the choir is built a smail bishop’s tomb 
of the early Renaissance, which in its modest grace is very a 
attractive (Fis. 131). Arranged as a wall tomb, its back is 
attached to the enclosing wall of the choir. Two slender ringed © 
columns with Corinthian capitals, between them being a decora- 
ted piscr with a similar capital, stand on a richly ornamented 
substructures and bear an entablature, whoss frieze has between 
Little columns winged heads of angels alternating with skulls 


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ee i 
ie 7 2 > ye. whe 


309 ; 
of the dsad. As if to more sharply accent the contrast of this 
wonderful ornamentation, the angels” heads are represented with 
the chubbiest possible cheeks. Uikewise the plinth of the sub- 
Structure exhibits skulls, skeletons of hands and similar bones 
forming an uulovely ornamentation. More pleasingly is the sar- 
cophasus decorated, which tontains between graceful baluster 
columns statuettes of mourners, such as frequently occur on 
H#rench monuments under the nade of “weepers”. The fisure of ¢ 
the deceased, which the sarcophagus doubtless bore, was proba- 
bly destroyed in the Revolution. 

Ta its full height was developed the tomb; of the Renaissance 
first in the monument of Louis XII and his wife Anne of Britt- 
any iu the church of 3S. Denis (Pig. 182), which was completed 
about 1518. It was probably J. Juste of Tours that designed a 
and executed this beautiful work. It consists of a structure 
like a canopy, that rises above a high plinth, openings at the 
ends with two, at the sides with four arches on piers. The en- 
ive work is executed in white marble. On the substructure in 

turesquely treated reliefs are scenss from the Italian can- 
paign, particularly the battle of Agnadel and the entry of the 
king into Genoa. In the openings of the arches are seated the 
marble statues of the 12 apostles. On the platform of the can- 
opy knesl before their prayer desks the lifesize fisures of ¢- 
the royal pair. Then these lis on frightful truth to life as 
nuds corpses extended on the sarcophasus, which is enclosed 
by the arches. The architectural forms of the monument are of 
entire grace, the pilasters with free and charmingly varied 
Corinthian capitals, their shafts with elegant arabesjues, the 
spandrels of the arches with Senii and emblems, ths soffits of 
the arches being adorned by coffers. Masnificent eoffers with 
beautiful rosettes also subdivide the internal cciling of the 
precious little structure. 

Likewise the wall tomb soon received its gre 
in the monument, that Diana of Poitiers caused to be erected 
in 1535-2544 to her deceased husband b. de Brege in the cathe=— 
deal of Rouen. It is found in the niddle aisle of the choir and 
Opposite the Amboise tomb. Its style lays aside the free orna- 
mentation of the sarly Renaissance to gain effect by a mors im- 
portant expression and stronger use of antique forms. The comp- 
cSition of the whole is not without srandeur, and is elegant 


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310 
and showy. It consists of a flat recess in the wall, that is 
enclosed below by coupled Corinthian columns on high plinths. 
These bear en sntablature decorated by masks, festoons of fru- 
its and eagles. Above this cornice rises a second order compo- 
sed of caryatids boined in pairs and picturesquely treated, + 
that enclose a great arched niche with the equestrian statue 
of the deceased. In the spandrels ars carved victories with 
palms and laurel garlands, and the frieze consists of a compo- 
Sitiou of victoriss bestowing garlands, winged lions and vases. 
Over the cornice is erected as a termination of the whole a 
shrine enclossd by Composite columns, within which sits the 
allegorical form of Virtue. Acroteras at the angles with weap- 
ons form the crowning, connected by ogee volutes with the mid- 
dle shrine. After the custom of the time and the country, there 
also seen here an the sarcophagus filling the niche, the nude 
extended form of the dead only partly covered by a shroud. The 
surface above it is animated by two tablets with inscriptions 
in Barocco frames of cartouche work end festoons of fruits. 


At the head of the dead and behind the columns of the enclosure 


kneels his praying wife in widow’s weeds: opposite her on the 
other side stands the Madonna, holding forth the Ghild congol- 
ingly in her arms. The entire work is executed in alabaster a 
and black marble with the use of rich sildins. Nothing definite 
is known of its master, but much speaks for J. Goujon. 


We are better instructed on the origin of the grand monument, 


t 
ich Henry II caused to be erected after 1555 for Prancis I 
and his wifs Claude in the church of S. Denis. It is ons of ths 
fi est works of P. de 1’Orge, who not merely designed it, but 
also supervised its execution. Entirely constructed of white 


acteristic for the change in views after about 1540, for inste- 


ad of covering all its surfaces by ornamental arabesques as in 

he early Renaissance, it develops the architectural forms and 

Lines in severer purity and rejects the aid of sculpture except 
in the domain of independent fisure ornament. Thereby with all 

richness the impression becomes more esthetic, and the general 

effect gains in disnity and Srandeur, that best corresponds to 

the monumental importance of a sepulchral monuaent. 


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311 
The Sround form is similar to that of the monument of Louis 
XIT; two sarcophasuses with extended corpses of the royal pair, 
enclosed and ¢overed by an arched structure like a canopy. Sin- 
ce its ceiling is not flat but consists of a tunnel vanlt, th- 
ere is required stronger abutments, which are arranged in the 
form of massive piers with projecting colums. Four main piers 
are arranged in a rectanshésgnd connected by great round arches 
that form the middle portion. At lesser distances correspond 
to theses in the length and breadth of the monument the angle 
piers, connected at the ends by balustrades, with the middle 
picrs by small and lower arches, so that the monument exhibits 
@&@ cross shaped plan, with the form of a triumphal arch on all 
Sides. The columns as well as the entablatures and cornices 
are executed in the richest Ionic style, the slender columns 
are fluted, all members being adorned in a refined anf animat— 
ed way by the corresponding antique ornaments. put the fisure 
Sou aN re APS the chief part in the recher effect. The plinth 
of the re monument with the stylobates of the colugns is 
be nails ad miniatures in @ fully picturesque style, of repres— 
entations of battles of Francis I, particularly those of ari- 
Snano and of Gerisolles. On the spandrels of the great arches 
ara carved goaring Senii, but especially the great tunnel vault 
is ornamented by low reliefs of the evangelists as well as of 
allegorical virtues and soaring Senii, and the separate panels 
receive a framework of wide interwoven bands in the noblest s 
style, with rosettes in the openings. These reliefs were exec— ial 
uted by G. Pilon, and ths reclinins forms of the royal pair w _ 
were by P. Bontemps. On tae top of the monument kneel in prayer 4 
the lifesize figures of the King and queen with theirotwe sons. 
According to the model of this srand work natherine de Bedici 
caused a similar monument to be erected for Were it and her de- 
ceased husband Henry II, also at S. Denis. tike that it is en= 
tireln executed in marble, and the na it is sometimes 
attributed to de 1’Orme, sometimes to Bullant or even to Prima- 
ticcio. The arrangement is the same; on a sarcophasus are seen 
the extended corpses of the royal pair. Twelve columns of dark 
marble with Gomposite capitals bear the arched structure, on 
top of which are placed Henry II end catherine in lifesize br- 
onze figures and kneeling. On the whole the architecture is 
dryer, colder and of heavier forms, the entablature is broken 


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312 b a 
over the columns; between the latter are openings like windows 


in the separate panels. On the base are placed marble reliefs 


by G. Pilon, and at the angles of the structare rise om projec-_ 


ting pedestals the bronze figures of the four cardinal virtues. — 
This is the last great tomb monument of the Franch Renaissa- 
nes. With the beginning of the 17 th centure penetrates here 
that picturesque conception, that makes the tomb nothing more 
than theatrical scenes, in the best case being living portraits. 
Of such kind is the tomb of Richelieu in the church of the Sor- 
bonnes, where the cardinal is extended on the sarcophasus and 
sustained half upright by the figure of Faith, while inconsol- 
able Frances laments at his feeb. Of such a kind is in the mus- 
sum of Versailles the monmuent of the duke of Rohan, about whom 
two genii are engaged, one of them supporting his head, while 
the other lamenting, wraps his ducal mantle around him, By such — 
ingenious inventions, which chiefly belong to the painters of 
the time, is the architectures mutilated. 


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313 
Chapter X. Art industries of the epoch. 
107. General character. 

t is readily understood, that with such a rich bloom as the 
French Renaissance developed, a no les splended treatment of 
the various art industries was connected. The Love of splendor 
in the court and by the great likewise stends kere in the first 
line as an impelling motivs, and Francis I gave the tome for 
the entire surroundings, Henry II as well as the succeeding 
monarchs following in his footsteps. Serhaps never in modern 
times has the external appearance of men in clothing and orn-— 
anents, in the form of the livins rooms, has been treated as 
nobly and full of style as then. How very much the influence . 
of Italy determined this, how the impressions already received 
there under Charles VIII and Louis XII led to a transformation 
in French views, which then soom had as a result the invitation 
of [Italian artists, has been shown in the first Chapter. While 
now for the development of architecture those foreign influen-— 
ces were scarcely in any way important, since thse national op- 
inions, customs and habits, reacted too strongly against the 
forsign forms, there cannot be denied in the accessory arts, . 
and especially in the art industries a strong Italian influence. ~ 
aor Soldsmith’s work the calling of a master like B. Gellini | 
#28 without question of epochal importance. Majolica received 

a first impulse by the calling of G. dalla Robbia, who by his 

colored and slaged terra cotta tiles of floors, frieges end 
medallions of arcades, as well as the coffers of the portico 
ceilings at chateau Madrid are also later at Fontainebleau 

i iecoration. For ths magnificent armor were 
ilanese fC Ea but we know also, that G 

3 frequently employsd by the French 
court, that especialln J. Ssussnhofer of Innsbruck was called 
by Francis I, and that perbaps also H. Milich also supplied d 

designs for prancis I and Henry II. 

Thus is proved for many branches of technics a foreign influ- 
enes of forsign work, so there is likewise to be assumed and 
proved fregusnt cooperation of native artists and mechanics. 
But in general in many branches of art industry a spscifically 
French treatment cannot be asserted: French ornamental artic- 
les wers composed and executed in the same manner, and especially. 
with the sntire charm of colored enamels, the gleam of pearls, 


a] 


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Us Ga soste 


Sap om re 
- 
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Tame 
‘wa 


a im 
bad We 


' rel ep ne Pisces 
hha mB ne 
} 


ae ys al 
rae 
rh ~ wo Sh 
oc. an 


bi 
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We Losi pies dee 
© as Lk Oa 
Pt al ie ok et et Se et Se 


al oh em 
Ase 


a 


314 
the sparkle of gems, like the German works; weapons and armor 
aS in Germany received by etching, niellos anf inlays, the in- 
comparable Stamp of the most perfect ert and of ornamental sp- 
lendor. Qaly one thing is to be noted, that onder the influence 
of the buyer, of an art-lovins court and splendor-loving prin- 
cess with the aid of the special French sense for perfection of 
form, grace and refinement of thess works, and particularly a 
distinguished also the graceful character was obtained, and 
that also the figure has full freedom and charm. But for the 
ornamental composition in the most diverse domains was Italian 
av& most influsatial by the school of Fontainebleau, that first 
introduced the so-called srotesques of Italian hish Renaissance 
into the north, which then with its strange, frequently saudy 
and overloaded combinations of garlands, festoons of fruits, 
masks, fantastic fabulous beinss, emblems, instruments and ths 
like, soon found its way into Germany. In France also the har- 
monious and noble ornamentation of the earl Renaissance, sub- 
stantially based on beautifully drawn foliage with sparinsly 
scattered figures, was earlier supplanted by that varied mixt- 
ure then slsewhere in the north. Bxamples of these tendencies 
and of the contests of them with each other have been already 
sufficiently shown above in the consideration of book illustr- 
&@tions in S. 7. 

Where then the French industrial arts are carefully compared 
with those of other countries and especially with those of Ger- 
any, since 
only a reference to what is stated in Chapter III of the hist— 
ry of the German Renaissance; I shall limit nyself here to 
those branches of activities in the art industries, wherein 
Feance has succeeded in its own undertakings. 

108. Joinery and carving. 

The besinning may be made by a consideration of artistic wood- 

work, that in France exhibits very remarkable peculiarities. 
ertainly of the equipment concerned of the chateaus, the pan 
eled wainscots, carved ceilingr, artistic doors etc., infinite- 
ly much was destroyed by the storms of the Revolution, yet in 
public collections, particularly in Cluny museum, is preserved 
much that is valuables, and the same is tras of the furniture 

of the time. I recall the wooden stairwan of ths palace of 


ta 8 +) A ee : 
bee 4 
emt sad atin, ‘ber go wlecis “te 
ent: tne aon yould ak won 
doxtaer iwiisnasd odd baz sesidentes com 
_sneasoo! icc emee edd ok Bas TI vise Yo ows 


EJ 3 . >. ek weer 
Sat aa Fd wal wt < wv ed eae ul 


a ey 
Sits =O 


Sen Be 
= ot ee TP Ae Se 


8 nates aegit fs: 
_) deebea. ; 


rs 


MR LG1 


me fA 


315 
justics, richly carved with the arms of Henry IV. and of Maria 
de Medici, now in Cluny mussum, the carved wardrobe from the 
chateau of pontainebleau, and the beautiful wardrobe of walnut 
wood on the time of Henry If and in the same collection. The 
peculiar preference for French works of this kind is based on 
the clarity of the composition and the genuine wooden style, 
which never falls into the imitation of stone consrtruction 
predominating in German works. Thus to the French works of this 
kind is peculiar a sound principle and a deeper understandings 
of the expression of form suited for woodwork. As an illustra- 


tion we give the representation of a house door from Blois (Fis. 


133), that exhibits these advantages in the most charming man- 
ner. It might be said, that hers the spirit of mediaeval cons- 
truction was deeply absorbed into the spirit of the nation and 
reacts here, celebrating its resurrection in the forms of the 
new style. gor it is clear, how structurally intellisent is the 
design of the whole, the subdivision and membering by a modest 
and yet effective framework, how happy is the fillings of the 
surfaces of the little panels, the frieze, spandreis and the 
tympanum by ornaments, whose basal harmony is a softly drawz 
and sculptured finely animated foliage, while the figures at 
Suitable places appear is the blossom of the whole. fhus the 
whole has a rich effect yet without overloading, and is also 
disnifisd. The cartcuche work of the besinning hish Renaissance 
in @ wiss reserve is only used on the upper pansls of the door. 
Similar advantages ars throughout peculiar to the furniture 
desisn of the French Renaissance. Clear design and construction, 
suitable subdivision, tasteful distribution of the ornaments, 
with ancalculated for drawins and execution in relief for the 
technics of wood carvins, compose the advantages of french . 
furniture. Instead of the dry formalism of late Gothic appears 
the fully animated ornament of the Renaissance, particularly 
in its vefined foliage scrolls. -t first still prevails a dryer 
treatment, that with the then commencing use of oak wood comes 
from the middle ages. But soon in place of this dryer material 
the more suitable wainut wood, permitting the greatest refine- 
ments of the carvings tools. Gradually are also intriduced the 
anbigque orders of columns with their cornices and friezes, $a- 
bles, hermes and caryatids, however transformed in a manner 


? 
} 


wet A 
‘ WIAs 


7 ” Lae 


BHORC 
Tes | ae we be 


NS a a 
j ‘Whe r 1 


318 
corresponding to the wooden style. At first men indeed loved 
to use Corinthian paneled pilasters with leaf ornaments on the 
short shafts. Especially in the northern schools, in Normandy, 
Picardy and Flanders, these stumpy forms prevail. On the cont- 
rary in Iste de France the influence of pontainebleau made it- 
self felt, the furniture received a slender exterior, elegant 
members and fine slightly projectins mouldings. Furniture ever 
passed mors out of ths hands of joiners into those of archite-— 
cts and carvers. asters like Gonjon and du Gerceau made their 
influence felt. To this was added rich picturesque relief orn- 
ancnt with inlaid work, intassias, marble slabs, enamel paint- 
ings and other colored accessories, whereby an extremély eis- 

gant general effect was ‘often produced. As a characteristic 
example of this kind serves the wardrobes represented in Fis.134, 

Substantially differsht is‘formed the furniture of the Burg- 
undien school, en whose general form the treatment of the det- 
ails penetrates something of southern luxuriance, the exterior 
is broadsr anf more massive, the membering is more prominent, 
the fine little column$S are replaced by strongly animated her- 
mes and caryatids, and even sometimes such fisures occur in t 
three stories, wherfin is recognized a special Burgundian els- 

3 


ment. All forms and projections are bolder, the foliage orna- 
ment is especially with flowins luxuriance, and in the panels 
are seen relisfs with daringly animated forms of horsemen and 


soldiers. Of an allied hiknd is the furniture in the South and 
especially in Lyons, constructed with like massiveness, widely 
arranged and decorated by splendid richness, yet always in the 
good period psing subdivided and graduated with refined intel- 
lisence. 

Until the end of the 16 th century French furniture substan— 
tially retained its beautiful and stylish character, remaining 
far from Barécco excesses, that already early overcame the fur- 
niture in Germany. First under Louis XIII heavy dryness in the 
elevation and overloadins in the members, and particularly car— 
touche work overcame the decoration, the slender columns became 
twisted, and plan. as well as figure ornaments became stumpy 
and without feeling. Thereby this epoch reached its ending. 

109. Pottsry; terre cottes and stoneware 
Also in the domain of pottery Prance quite eninge renained 


\ 


, 


i ee be 


‘fee .octd Hoe 4 


A ob aso anew fo bi 


: ot 8) novel os 

Ns beans witeet 

Satan (SA) 618 Sones’ 
a RicemnrTe 1697 


Sn A 


Coe 


317 
faithful to the mediaeval tradition, and when the new forms ¢ 
gradually entered it from Italy, men adhered yet for a time, 
to the inherited traditioal technics, so that the sreen copper 
glaze and the lead glaze for a time prevailed against the tin 


glazs. On these works, as for example the vessels from Beanvais 


and Normandy, the green, brown and white produce a harmonious 
agreement of colors. How long this technics prevailed, among 
other sxamples is proved by a green glazed hunting jus from 

the Louvre, that is ornamented by, masks, lions’ heads and the 


arms of mMontmorency (Fis. 135). A chief locality for the fabri- 


cation of these works was already since the 14 th century the 
city. of Beauvais, whose potter: was characterized by a pale ¢ 


green tone, and occurs until the time of Louis XIII. Bven Rabe- 


lais mentions in Pantageuel these vessels, and in Panurge the 
blue vessels of Savignies. Besides those palces, Saintes, Ren- 
nes, La Chapelle des Pots, and then in southwest France is Sa- 
dirac near Bordeaux, notable as places of the fabrication of 
such pottery. wine | 
The introduction of the Renaissance first occurred bg Italian 


artists, who settled in France and brought into use the Italian 


majolica. Thus we already know that Francis I called G. delle 
Robbia for the decoration of his chateau yadrid. However beside 
these foreign works there continued ths prench pottern in its 

: : S, and contemporary taste mads a concession in 

t £ e new forms. How closely this approached 
the [talian sometimes is shown by the beautifully glazed tiles, 
by which the chateau at Hcouen was ornamented, and of which we 
now know, that they were made by a native artist, m. Abagquesne 
belongins to Normandy. But it is also known that this master 
made glazed vessels. A rich selection of French floor tiles is 


foand in the mussum at Sevres, as well as in the Louvee and Gl- 


uny muscums. (Fig. 186). In the division and ornamentation of 
these tiles, which consists of leaf scrolls, garlands and med- 
allions, appears the scntire charm of the early Renaissance. 
Here belongs also the Slazed floor tiles of the chateau chapel 
at Oiron, that have sreenish black linear ornadentsson 2 pale 
red ground, on which are the brightly colored family arms. A 
Spichai and characteristic, psculiarity for France are the gabl¢ 
points, weathercocks, ridge tiles and other roof ornaments, t 


iis 


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oi Sh8 


ite a 
M 


_gokdesns henc 


. Cad 
vw ; 
ee 


owes EEO: 


Th 


me we 


ao & 


is tee 


‘ om Sie bs ee 


mn 
mecernnw F wf or 
‘ (7t) 
tt Se he A a | ee 0 
, 
> YD A 
geul eS 


Finr i 
LEO ae GL 


ed £ ony J ti to gi C& 


“ G £ os & 


a ore 
A 


oe 


- 
te aes 
Vit ip 


von. 


318 
that lent a very picturesque charm to the French buildings op 
that time, especially in Normandy. 

To the chisf places of the manufacture of French faience fur-— 
ther belongs Avisnon, whose dark brown vessels, mugs and vases, 


bowls and dishes, table ware etc., exhibit a richer ornamenta- 


Gion with open reliefs in a yellow tone, especially masks and 
the like. Similar are the vessels from Clermont-Ferrand, yet 
their color is darker and the ornaments are netted. Extremely 
rich and with splendid relief ornament in rich colors are exe- 
cuted the works of F. Briot, who about the middle of the 16 th 
century lived in Paris, some of whose show pieces are known. 
(Fis. 187), 

French stonewars is in great part similar to the Rerman, made 
in spay color with blue ornaments. AS the principal sources ars 
asain designated Beauvais and Sauvigniss. In the ornamentation 
French stoneware remains far behind the German in the richness 
and fullness of imisination, and especially scarcely knows the 
ornamentation by figures so favored there. Mostly there is fo- 
und on these vessels only flower ornaments, especially lilies, 
besides sosettes, Sarlands and arms (Fis. 138). 

110. B. de Palissy. 

The most famous among the masters of pPrench pottery, B. de 

Palissy, was born about 1510 at Ba ghapelle-Brion in Berigord. 


i 
istic importance, yet did not satisfy the zealous youns man, 
who in his leisure hours snsased in the study of secometry and 
perspective, and sought to develop himself further in drawing] 
painting and modeling. After his apprentice years Se wandered 
through France, Flanders and the Rhine provinces, and he even 
knew how to acquire more extensive knowledse by the study of 
natural history and especially of chsmistry. Thus as a trues 
artist of the Renaissance he obtained the basis for that sene- 
ral scisntifiec education, which he later embodied in his writ- 
ings. When he returned home in 1839 from his ysars of wander- 
ing and settled at Saintes, where he founded a family for hia- 
seif, he was most stronsly impressed jy the sisht of a‘ faience 
cup, and was induced to make his own experiments, that partic-— 
ularly lad to the display of a white slazo. Touching is the st- 
ory of the heavy cares, the bitter disappointments, which res- 


a 


_— =e 


Sa a ll 


Ee 


ee 


ssiosden brs 


a ire 


sess Ens Reottidoaa st: 


sounds ee to 
(edt Seved .Y2 
eos Baso2 « 
5 it toto? ger 
Biot BeOS ic 
ef fever yes: 


aindéno2 | Bas 
% 


N Trike! 


a ; 
ei edd ‘Yo » ie 


~~ oF & 


id eit ‘ial wind .4z 
Jee ‘Bevei i ! oe 
fait on nedton 


ey * wee 2 


ee an W wi we Ad ae 


Yas 


‘ 
at Be | 7 
‘2 dela 4 


ayaa 


naan < ve e ¥ fi 


ee 


{Badaogor £T2 y* 


pence Qo 
D Bauch’ 2 ac , 
wort uatvorecco 
mm pifasnien eidt 


—eammgnting ee ephte dosed 


Ls ct 
a 


Wwe > C 


Pat 
a ie 
avi 


Di 


racaixe 


fos bane Pare oe Tine oe 
PR OE Gel yee eg oP A BP 


F) ‘ Ae ed f 
, t pry he 
mia: Wer bed iaces 
Eotncs ‘en 


hep ‘3 : u 


vy ah 
we 


Mea 


4 iftund Vwse 
5 


319 
resulted for him by all these experiments. In spite of want in 
which he worked, of the reproaches of his wife and the warnings 
of his friends, he continued with irom resolution and unbroken ° 
courage his experiments. After the greatest sacrifices and res-— | 
ignation, he finally succeeded in the exhibition of the glaze, 
which thereby bsdan for him the epoch of his glory. hater the : 
great artist wrote to Antoine des Ponts:- “I. have found grace | 
before God, who has caused ma to learn secrets, herstofore un— 
known to men”. His first works were the so-called pieces tern-— | 
ed rustic figulines (Fis. 189) which by their entirely novel 
originality quickly sxcited Seneral astonishment, and forthwi- 
th brought him orders from Henry II and Gatherine de yedici as 
well as other prominent personeses. Since like several of the 
most important artists of the time, Palissy was a Protestant, . 
when the fanatical persecutions commenced he suffered the sev-— 
erest oppression, which resulted in the destruction of his ho- 
ase and his workshop and nearly caused his death. Only by his 
call to Paris in the service of the king was he rslieved fron 
persecution, and by the command of the queen mother he must 
erect a workshop for himself on the place where the Tuileries 
was built later, in which he was frequently visited by Gather- 
ine de yedici. Besides he opened lectures on physics and gener- 
al natural sciences, by which he knew how to attract the lear- 

ed circles of the capital. But in spite of the protection by 
the highest personages, the faithful protestant at a Sreat age 
in 1538 was thrown into the Bastile, where Henry III repeatedly 
visited him in order to convert him, which endeavor the stead-— 
fast artist rejected with scorn. He was indeed saved from the 
scaffold, but the weak king permitted him to lansuish long in 
‘prison. He died in 1589. | 

Amons his works are those mentioned above, that as most pecu- q 

liar brought him the highest fame. They are now closely imita- 
ted by round and oval dishes (fig. 189), that as show pieces 
covered by extremely natural imitations in relief of snakes, 
lizards, fishes, crawfish, shells and the like, on a sround @ 
decorated by leaves of all kinds and partly representins flow— 
ins water sometimes. There is no question that this naturalisn 
opposes severe styls principies, yest the technical execution 
in the extraordinary truth to not merely the forms, but also 


Ree ei baa ae oy et lied iy le a i 4 > fae 
si neat Ve a Pee} ous 7 


| O38 - 
Pasi ibtbaslge: qifsups ed? bos esoloo eat ween 
‘gl -tnsndeisotes Beste etirem exes Leseacs excise 
psx5 eren, ebisdnsd cele nodd 2neadects obtatieanten 
fea cble Ene .eevsel so eliede yd beteveo ylesidns essen 
i - AObL .2f8) seitwero bas eyos? .ehsesil oti elemios 
Bsoosk to shom olgent-1idt ddim gote ton bib yoetlad 
# tidiaxe veds .eedeib secdd ots Lanci¢zevaco seu 10% 
‘,etnerenito soneseisss® iotitused trom edt vd benaobes 
“hatin olbbia edd si buasil oleate es egedseg sainiad 
peidsan <All favors efidu bas eald .awesd edd mos? ae 
p enozeace ead to wetv eat. foe eiasd ad pete sd¢ sevootoll 
} edd aod esakeb dbid so nt beriapss esn eveds skdow 


ibolediym tc etetler oseloo yibibncige yd edzon eid 
ipa doidn ok .enoktetasevengen fsolaoteld fine Leotaon 
Piteae +329) .tae sellaty to eogbaltat eft xebsn Loe 
b@enod yesh Bus wolley ,euld-add yd tootits hasoleo end 
@ Pee tsloiv ,neeth Sebhs ots doldw of .ald. yd Ssyolque 
ae bos, enotmonies as Sifseiqs ta ei ,enll bacosp edd 
pakiessb teesl add of nciteetisg teedgid edd BO @h a0 
wietad yd bovezcost baa drow bedasotseg si. exe dada 
5 to bonnet yiteos exshiod agin .atesm bos. opeilod 
tbe Ries oltalize caeny ed? .vrowol? to abuelses 
e yostesd Og mid Deasso  febecossg todusm bedeipkatiele 
mine me dgosteegak ylveo sin yllsioogse .scootg avitosiah 
} sid edz yd besiskoosa.63s aid vd adnow [ess ect eomak 
.toitgoexs [aoindsad eft to. acd 
anotk0 fe cosets? eat. .irb: 
soa to citox edt proms. soely ier sitha yiouléne as 
eins femsed yitsmiod .memgO to eonsia? add yd sewed af 
wy Sf eon yiteon has esoiosig @eoas e14 seed? .Il, yunel i¢ 
22 gideragqsoont utin ageig Bast yd bersyco yalo sath tx 
2 sudoo noiioy viteor baa ataoifleb xd enolie1oneb saeaole 
OReiiot bra ecsowolt, .ehasd beosluetal. dtin .evafseve evo 
So ig igtioge? fon ,ebtsnil .sduam dere dite cele ied 


eo e 
jpyent 
. id ioe 
rau 
- ‘bes 
¥ ie ae 
mt bey ry 


cae oa om 20 


‘yee % won ST emolli® «6 yd Sevomes, Liev eds san. posts, archos 


aed Pameced mn ecelsk sedied ie n0nt0, Lae Wasieso asd dg nasal 


vhs 


OTERO ee at tee si Sie, ot 
i) | iar a AS ah Bee Rees mee Us coin) 0 oe ‘Con itil ay gh Mp ea oe Se) Bee. 


et oa tadt ce ,teidiea Lntidgeods bas, heticign aids 


paemenen yd begeon? eedalh cals eta ened? ylient? 


Nise jedtcx enciosig Bae gacoitiadam casi to sigiae ead - 


A Oe ao 
c 


| 320 . ; . 
especiaily the colors and the equally splendid, mild and hern- 
Onious seneral tone merits strong astonishment. In an allied 
naturalistic treatment then also tankards were executed, which 
were entirely covered by shelis or leaves, and also separate 
animals like lizards, frogs and crawfish (Fis. 140), 7 
palissy did not stop with this rustic mode of decoration. § _ 
For more conventional are those dishes, that exhibit a border 
adorned by the most beautiful Renaissance ornaments, Only con- 
Gaining perhaps a single lizard in the middle panel, that ris- 
23 from the brown, blue and white ground like marble (Pis. 141). 
Moreover the stary in Paris and the view of the numerous art w E 
works there was required in a high degree for the taste of 
this spirited and thoughtful artist, so that he now adenmed: 
his works by splendidly colored reliefs of mythological, alle- 
gorical and historical representations, in which he shows hin- 
self under the influence of Etalian art. (Pig. 142). Also here 
the colored effect by the blue, yellow and gray tones generally , 
employed by him, to which are added green, violet and brown in 
tas second line, is as splendid as harmonious, and the executi— A 
on is of the highest perfection to the least details (Fig. 148). q 
Finally thers are also dishes treated by him for pare ornagent; | 
baat are in perforated work and decorated by interwoven bands, 
foliage and masks, with borders mostly formed of ornamental ¢ | 
garlands of flowers. The great artistic care mith which the a 
distinsuished master procesded, caused him to destroy every 4 
ective piece, especially his early imperfect experiments. 
cs the real pa by him are recogniged by the high porieot- 
ion of thse technical execution. 
Li1. The Peay pian: of Oiron. 

An entirely peculiar place among the works of French pottery 
is taken by the faience of Obron, formerly termed the faience 
of Henry II. These are those precious and mostly smell vessels 
of fine clay covered by lead glaze with incomparably rich and 
elesent decorations by delicate and mostly yellow ochre or br- . 
ova overlays, with interlaced bands, flowers and foliage scrolls, © 
but also with arms, masks, lizards, and fanciful figuresz.On 
the origin of these magnificent and precious works, only in 
modern times was the veil removed by 8. Fillon. We now know, 
that at the chatsaua of Oiron in Poitou Helene de Hangest, after 


: ladies 
seta Gd yt: 
- boadeor 968 bn: 
“ated ftin yl 
‘" ~aeb edd to 


| mteots de? ori 


wae & 


eet nt tot .etue 


wénkeg RS G2 ix 


ee UL : 
woe (ae : ek } 
wide th ed nas EOESLS2 eB 
(eee gnoflecu: 


Wi 


op atens, OIG 


4 


lh ee WF 


ehROnk, 


Letdalac 
twas 


| ool 
widow of A. Gonffiers, herself executed these charming works 
with the aid of her potter, F. Carpentier and her secretary, 

J. Bernart. Thus we have to do with a dilettante, who indeed 
exhibits an unusaally sisvated artistic feeling. Her husband 
was likewise a hishly cultivated man, went to Italy with Louis 
XII and later was appointed by the king as steward of the dau- 
phin, later Francis I. His widow received from Francis I the 
task of educating his son, afterwards Henry II. When she did 
not remain at court, she oceupied after 1524 hér chateau of 
Oiron, where she died in 1537. After her death the fabricat— 
ion of fainncs was continued under her son Claude, for in 1538 
in the accounts of the family occar J. Bernart with two paint-— 
ers and a boy. 

Three spochs in the fabrication of this faienes can be dist- 
inguished. The first and at the same time most excellent was 
iimited to the Life of Helene Gouffiers, and the pare taste 
which then prevailed in the creations then produced, sxhibit 
sufficient evidence of the refined art fesling of the Lady, 
who evidently busied herssif with pottery only as an amateur. 
Doubtless vg ss finely conventionalized vessels originated from 
recolisctions of the show vessels existins in Fontaineblsau, 
Their decorations exhibit somes relation to ornaments in metal, 
and the interwoven bands remind one of the bookbinding of that 
tine (Fis. 144). The vessels are distinguished by the soft yel- 
low of the ground, from which boldly rise the ornaments in 4@ 
dark brown tone. The sparinsly occurring colors elsewhere are 
light brown, brownish red and black, belongins to the same sc- 
ale, and lend to these works the character of earnest disnity. 
In this respect the best of this faience indesd excels all pro- 
duced in this domain sisewhers in the time of the Renaissance; 
on this is based its entire distinguished rank. pesides these 
terlaced bands and knots the ornaments consist of finsly con- 
ve we nalized flowers, branches with leaves and perforated ne- 
arts, and partly in the most ornamental way are composed of s 
separates points. Figures are only occasionally represented by 
masks or also even by a lizard. Also ars found the arms of the 
Gouffiers and of families connected with them, which already 
indicates that the vessels were indeed exclusively intended 
for gifts. The exteriors of these precious works exhibit .the 


kaa 


P avontine, $2inp epial. out sted ‘etes? Senttet 
W lois of2 sant op | Beviton bedediatull ifew, hoe 
Beduert at [iA .twotado beseatas ylintiiueed 8 saa! 
1 yiletoeges bas beyolgqus, {stusdec edt dein: one 
1 tefoaueio blod bus kaw. ads eves veqig selene. baa 


sd 
Ta oii 
pa sak 


aga 


bios eee) <6: | cotrettog 9d’ 


tise ge a out tained ot gs eupisi to itaob edt Atty 

« ge 

e ad $ to quests lecigesio edd, .netostado bention sit .ysodce 
toed. ye et0s tnontsat ssy2b # of gosiq eevit boineg heatd 


ee bas emit edt to woda to evel eit hesinsoser o7s 
fect iooxe of Id3ace on. 18rtinob Snel to eonenttak 
ie ou 21s: ef .L. coals .edvow telfeas est te yinand evotnomes 
oy B ihonnes.c £ aetsothal coidw .atasoces ait ak ersedgs a9g 
! . fednn eleenay egs To enoktevele ony ,gtnerohiel of 
WN pODdONSH oFs doscsggs onit odd %o etutoetinons ait to 96 
b peuexsind bas pretvatlty edd ome nalootineg at Inve 
Gh a8bs bas .beecions wiigenpest e7s elsezew eng 


Baie mnt nk begolevel ea jade ,2talleos ise edt Io. cand 


pataes 


a : atid gad ,ehnvexk doald ao etian 2k golianserle vt 


pest 210m esa eloresy susdy a0 .nesab nk besely sua 
Prphives Yoncercutno’ to bas consis $4, emis edt Brvot 
oT tlonest Yo-seboamelse sdt yflsioeqas .emefdas Layer 
f eat ell vues8 to margoncm baa soon Sled edi vigeinota 
ae 2 songlist” te seen eft Set sotesobe over yirenze?. dolaw 


}Opinaxil norsk to feqsio eag tc xoor? siz mouk eefet 


Bc... , -eveds besckicem yinesls sex bee dooge eldt ” 


\¢ 
as 


7922 ned «0 nedu ,S88I tuode eeonemmen boitsg brkst oT 


: “ie KeQS0senRcF sat to anoidsoasted: eft isqaoee of cotkO 


Aleit enit tetad Bic? ol .O06L\ai heyoutesk ylortine 
‘Sands ne besiahooor sd .ot rolls uldiely Jedd exten 
ned eben xidadowg eten ediow osedt -Botndoed edt gt 


' at 
eA - idnie 


ward hee 


b tine bade. tiie aedake sSIssotig.. agua Sat 


bes to efbbim edt {iden hetasl dokdx .notseo fds? y, 


10 yd Bebeolisye saom bee w302 [esesod ocd at Lex i; 


e fabigesnerecse oot .(2d 5%) egcislind eltebe 
“aging ¥ fav dlaate yidasg o1é. enrot edt oLiiw zens sedé¢ 


0 tc meldms ne ee Secok eft, fovot cele vi eeniseno? se 8 


doy ed? 90% leizsten odd, sisido ot xod Ror bed sad eneateg 
ole wleselescs+ sting stan ews alton suel stad? gore 


322 

most refined taste, where ths large quiet surfaces were compo- 
sed of well distributed motives, so that the whole generally 7 
has a beautifully animated contour. 411 is treated in accord-. : 
ance with the material employed, and especially the handles 
and outlet pipes have the broad and bold character raquired 
by pottery. , 

#ith the death of Helene Gouffier begins the second epoch 
of fabrication, which lasted until the middis of tae 16 th 
century. The refined character, the classical Stamp of the 
first period sives place to a dryer treatment mors architect-— 
ural in the general form and more overloaded by ornament. Here 
are recognized the love of show of the time and especially the 
influence of Clands Gouffier, who sought to excel the plain 
harmonious beauty of the earlier works. Also J. Bernart no lon- 
ser appears in the accounts, which indicates a changed artist- 


c leadership. The elsvations of the vessels under the influen- 
ce of the architecture of the tims approach the Barocco; wond- 
erful in particular are the pilasters and buttresses, by which 


the vessels are frequently enclosed, and this is especially 
teus of the saltcellars, that are developed in the form of 
little buildings (Fis. 45). The ornamentation alse movessin 
other tones, while the forms are partly black on white, part— 
ly alternating in white on black Srounds, but the sarlands 
are glaged in green. On these vessels are more frequently 
found the arms of France and of Montmorency, besides varicus 
royal emblems, especially the salamander of Francis I and. par- ; 
ticularly the half moon and monogram of Henry II, the Last of 
which formerly gave ofcasion for the name of “fatence of Henry q 
II”. Sometimes is also found the goose as an emblem of Oiron. 
Piles from the floor of the chapel of Oiron likewise belong to 
this epoch and were already mentioned above. ' 
The third period commences about 1562, when C. Gouffier left 
Oiron to escape the persecutions of the Hususnots, which was 
entirely destroyed in 1568. In this brief time fall the last 
works, that visibly allow to be recognized an abrupt decline 
in the technics. These works were probably made for sale by p 
persons that bed know how to obtain the material for the work- 
shop. Thess Last works are made quite:carelessly and rudely, 
the mugs, pitchers, dishes, table ware and salt cellars ars 


| 


iy ‘eae 
Beikieo'ns2 


Tr 


«hog acigoiens® sét 102 esnet Fi O08 NS I beredor 


mms 


eel he 


| aiteegs ey 
pata ‘ett 18 Te 
oP. “sactedacr egy 


Lo 
% 


* 4 
© te es we I 


~~ 
a « BS) 


— ode 
le 


323 
formed with the refined rhytam, the ornaments ara unskilfully 
distributed and treated without delicacy, the colors are freg- 
ucntly inharmonicus and impurs. 

Altogether about 5 pieces of Orion faience are known, whose 
valus kas recently risen so high, that not long since a biberon 
Was purchased for 27,500 francs for the Kensington museum. This 
also possesses 6iexzamples, the Touvre and the collection of A. 
Gs Rothschild each have 7, and the others are mostly found in 
private collections in @ngland and Francs. 

112. The fatence of Nevers. 

fo the art love of a distinguished noble, fh. de Gonzaga, a 
relative of Gathsrine de Medici, who was made guke of Nivernois 
by the king, the majolica fabrication of Nevers owes its splen+ 
did elevation. Indeed the apparent founders of the workshop, 
aS are regarded the three brothers conrade, have recently been 
deprived of that prominent position with justice; still it is 
not to be doubted that the duke as a sreat friend of art soon 
after 1565, the year of his marriage to Henriette de Cleves, 
one of the three spaces at the court of Gharles IX, brought én 
Italian artists to whom is also due the introduction of the 

echnics of majolica. These Italians adhered to the style of 
their country, and it was especially the majolica of Urbine, 
whose technics was imiteagedsiAs there is also found here in | 
the early works of Nevers those favorite mythological rapres-— 
entations, tritons and nersids, loves, stc., but soon as the 
first French workers were employed, this styles expsrienced a 
substantial transformation. Characteristic is particularly the 
coloring, and especially the bluish green, that characterizes 
the works of Nevers. Then it is to be noted, that the ysliow 
Sround tones are as on the Italian majolica, and especially 
that yellow ochre is not so generally used. Furthermore it is 
to be considered, that the figures are mostly painted yellow 
on a blue sground, and that red doss not occur. Otherwise the 
colorins sometimes excels the Italian, but on the contrary the 
drawings remains far bensath the Italian. In the decoration sy- 
ans as symbols of the family of Cleves play ao sreat part: some- 
times are seen cupids riding on swans, then again are sways 
scattered over the blue ground. Of the charm of this decoration 
and the grace of these vessels a vase from the museum of Nevers 


al 


a att bos py oeea yaoto sh badadics 
ze'loege 


ee 
wwe & mm Se 


B.vsev 


Tha OF 


. ~_— > a ee 4 
; a i098 en: 


Aa 2% 


fetter : 


te et % del ~ 


., a 
~ she ee ee 


apes 


324 
Sives an idea. (Fig. 146;. Besides vessels of this kind are f 


found in particular in Cluny museum and in the Pountaine collection 


A particular species ate the splendid imitations of Bersian 
vasss, that in beauty and technical perfection belongs to the 


most excellent works of their kind. Instead of figure represen- 


tations, these are here treated with the most refined feeling 


for nature, and yet at the same time came into use very stylis- 


tically conesived flowers of, Persian ornamentation, that rise 
from a deep azure blue, or sometimes a yellow ground (Pis.147). 
Most beautiful in effect with their splendid gleam of the glaze 
are the vases decorated by white on a blue sground. The same c 
character, but in forms freer and nobler and approaching the 
Italian Renaissance, is borne by the ghazed floor tiles from | 
the ducal palace, that are seen in the muscam at Nevers, srand- 
ly drawn and animated by birds and white scrolls on a blue sr- 
ound (Pig, £48). 

Besides these temdencies.is obtained a separate style, that 
combines Italian motives, sspecially mythological representat— 
ions with oriental ornaments. Soon afterward the Dutch taste 
and the Chinese-‘Japanese style enters inte the decoration and 
leads to developments, which lie outside the scupe of our con-— 
sideration. 

113. Limoges snamels. 
fo the most precious show pieces, that the skill of the Fre- 


ie 8 
noch @ndustrial arts havev:created, now belons also in the first 
L 


a 
beside each other in a toilsome arrangement. With the beginning 
£ modern times thers also entered into these species of art 

a new movement, the endeavor for a freer treatment, from higher 
purely artistic effects. Hach of these technics then proceeds 
to become 2 frees art. This occurs in enamels, with fusible co- 
Lors painted ona fusible sSround, whereby the metal is entirely 
concealed, only being a sround for use like the wood or linen 


of easel paintings. No question that this process of transforn— 


ation was perfect in harmony with and probably even under the 
precedence of sSlass paintins. Limoges was already famous in the 


| 
] 
. 
| 


ed a <3 


eee Mig 7 


San teh ol 


Bau nel: ra) ai? et  peoteag ae 
eres athe , : Y4¥s TSO fy 


tT »t 
> 


cus, : 


bi 


betogacs: edacr 
843 ESin toloo 
#4 986 ce 


> te vir 
ww Rel We ADAD EEL OF & 


5 093 
TF, BB 
ea» 


fee 


ant ewe 


: ow! oe 


Sop Oe oe | 


Sige 7 tinge Pes eencie epgoior: ; we me fh Pe ae 
5 ~ om, he Ww he ele ee ee 

o foidy eos te (#6 Ofetsga erat “.eern: y ry ae 
rt. > x Faayd é hd). he 


7? 
we 


es ase 
’ ee + 3 war ow 
; ie bay ’ ‘4 


é 


ol 
+ ft 


wu) ave . : 
meg nolzosalf Sat ; De Sus .! 

~., ae. oa 

Lad sins Esveas = x) aleta 


* 5 j 
ye 


325 

middle ages for ibs snamels, was also now the seat of this art 
and soon became so widely famous, for example that rich famil- 
ies of Nuremburg ordered from them their costly table ware, agi: 
then in the Tucher family one of these is still preserved from 
that time. ; | 

The course of development hers proceeded the same as in all 
other arts in the Renaissance time; it began with church works, 
soon to pass almost sntirely into the service of secular life. 
In the 15 th century, in the second half of which the enamels | 
of Limoges experienced this slevation, the chief problems con— 
sisted of these little hinged altars (triptychs), which in pro- 
minent circles served as traveling altars. These works competed 
in splendor, strong lighting and magnificence of color with the 
famous creations of the Flanders school of painters; bat it is 
even to be smphasized here, that the works in this technics s 
scarcely ever, as too well known, could attain the high rank 
of entirely free art creations, and that rather tas limits of 
the industrial arts mostly restricted them. As for what concer- 
ns the technics of this work, the artists incised the outlines 
of their work with 2 needle in the plats of metal, which was 
to be covered by @ thin transparent layer of enamel. Then the | 
outlines were raised by a dari enamel color, just as in glass | 
painting the drawing is marked by bold outlines. In the char- | 
acter of the earlier painting the details of the pictures. were 
Simply Lliffed in with strons colors and without shading, the 

s alone being mada sffective by inliad sold. The nude- por- 

tions received a violet tone with applied white lights, and f 
finally were added little melted drops in the spirit of the 
earlier art of precious stones and pearls on the garments and 
other parts of costumes. This archaic style of art, which chi- 
efly by the works of the older nf Penicaud, but also by those 
of the younger master of this name, at least mads at the begin~ 
ing af his course, are nowiss related to the influsnes of It- 
alian art, but rather and even more in figures are under the 
sway of the Oe Te particularly of the art of Flanders. At 
most occurs on the enclosures the Renaissance ornament of the 
early time. A beautiful example of this tendency of art is rep— 
resented in color on plate 40 of the collection Basilewsky. 

As goon as the new style also permeated this art, there was 


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completed a transformation not merely in form, but also in the 
technics. The copper was now covered by a thick layer of black 
or dark enamel, on which men now painted with thick white col- 
or, while the transition in the shaded parts was made partly 
by more thinly applied white, snd partly attained by hatching. 
Only the nude portions were laid with a flest tone, and fregq- 
uently golden lights were inlaid. These so-called srisailles, 
painted in gray on sray, that are in close alliance with the 
Similarly treated grisailles of Slass psinting, are artistically 
‘without question the most charming and most perfect shat this 
technics has produced. The effect is still increased when orn- 
amental bends with golden scrolis on black ground, frequently 
bordsred by narrower white bands with gold ornaments, enclose. 
and subordinate the surfaces. Still are not wanting also in 
this time enamels with full polychrome effect, which by the r 
rich gradation of theicolors, by light and shade,and the entire 

Scale of magnificent tones, to which the highest sffect is siy- 
en by the inserted solden lights, compete on one hand with the 
fully agi Siass painting of the time, on the other wits 
the oil painting of the Flanders school. One of the grandest 
gaow piec svat this kind is the oval shisld of the year 1555 
in the wks ry of Apollo of the Louvre, marked by the monogram 
A. C. In the middle is the form of winerva with spear and the 


Medusa shield, rather stiff in a likewise stiffly drawn land— 
scapes, surrounded by a dry cartouche border with precious sto- 
nes, that is fo Bolts by a frishtfully asly mask with mals and 
femalc hermes, also showings splendidly painted festoons of fl- 


owers and fruits. The technical treatment is indsed ons with 


s transformation of technics goes a change in form 
and meaning. The enamel occurs almost exclusively in the ser- 
vice of seculer life, for it is chiefly employed to ornament 
its vessels and utensils with “perehen™ of its colors. and for- 
ms. Shields, dishes, mugs, candlesticks and the like ars hence- 
forth the principal objects of si Splendid art, that on many 
of these vessels, like dishes, plates, stc., has to sntirely 
‘decorate the inner and outer sides. Further plaguss with enamel 
paintings were employed to ornament little caskets, chests, t 


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with large quiet surfaces with slisht divisions in relief, to 
afford as ‘much play as possible for the painting (Fis. 149), 
Thus the same law is in force here, that was also observed in 
the antique painted vases. Then the metallic style brings with 
it a fine accenting of certain developments and peculiarities, 
such as the handles and the spout, which are intelligible. On 
the surfaces so obtained the anameler places his paintings, w 
while he alternates the principal compositions with ornamental 
borders. As for the representations of Fisures, they extend o 
over the entire domain of classical mythology and history, but 
also Brblical scenes of the Old and New Testaments. As starting 
points first serve the compositions of Diirer and of the Berman 
little masters, but these are soon supplanted by the Italians, 
and not mersly Raphael’ creations come into use, but also the 
masters of Fontainebleau, Rosso and Primaticcio, furnish desi- 
gas for the enameler. Later came into use also the compositions 
of du Cerceau, de Bry, of V. Solis, etc, But in certain casés 
artists like L. Limosin also work from their own designs. 
All writers that have treated of these works, apply themsel- 
ves exclusively to descriptions of fisurs compositions, as if 
those works permit the importance of independent art works. We 
have already emphasized, that these can be mentioned only exc 
eptionally; on the contrary the main thing is the decorative 
Character, passed over almost in silence b: all these authors. | 
And yet just on this point is based the peculiar charm and val- i 
ue of such works, Variety in the use of the ornamental elements 
is extremely great. For example on mugs are laurel wreeths, or- 
nanental wreaths of flowers, rows of leaves, antique egs moul- : 
dingsor interwoven bands, which decorate the separate members, ; 
the foot and the neck, as well as the separating bands. Simil- 
ar ornaments are shown by the saltcollars, candlesticks snd t 
the like, But the dishest charm appears on the.dishes, bowls 
and shields. There the main surfaces in the inside is reserved 
for a figure composition. But a band extends around the edés, 
that on a black ground combines with the most varied intentions 
of the sportive Renaissance art; scrolls which at one side and 
in acanthus leaves, at the other in genii, figures of animals 
and masks (Fig, 150). The cartouche work is but sparsely empl- 
oyed in the sarliest and most beautiful of these works, as for 


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inscription tablets. The transition from this border to the s 
sunken inner surface always forms a narrow band with noble se- 
roll ornaments on a black ground. In many cases of round plates 
of dishes the middle is saved for a portrait, with a narrow 
whites border decorated by gold, outside which again lies a wi- 
der black band with gold ornaments, itself being separated fron 
the other surfaces by a narrow white stripe with gold decorat- 
ion. Thus on a noble dish by P. Reymond of the year 1558 in ¢ 
the Basilewsky collection at Paris (Fig, 151). Thersby is how- 
ever not exhausted by mach the domain of this ornamentation, 
but rather is drawn upon all that the Renaissance has invented, 
in order to create for these works the highest decorative prich- 
ness. Here belongs especially those strange fabulous beings, in 
which often appear the fantasies of a HSllenbrigel. Thus with 
the unusual charm of a sparkling imagination on an oval dish . 
by J. Gomtois in ths possession of Prince [,ichtenstein at Vien-— . 
na, and further on a splendid round bowl by Pa Reymond from the 
year 1553 and on & magnificent plate by the same artist in the 
gallery of Apollo of the Louvre. In all these cases, the repre- 
sentation of the chief picture may be polychrome or a srisaille, 
but the alternation of gold ornaments on 2 black ground woth 
graceful ornaments on a white sround is extremely charming, and 
proves that these artists with entire safety knew how to domo- 
nate the entire effect. But as the last and nowase most beauti- 
ful of these decorative elements is to be termed the cartouche 
work, that occurs about the middle of ths century. However whe- 
ro it is combined with figures, masks, hermes and the like, w 
white is to be happily combined with leaf scrolls and frudt 
festoons, since frequently = high ornamental charm is attained. 
Thus on the back of an oval dish by Fs. Courtoys of the year 
1558 in the national museum at Munich, which represents Hercu— 
les in combat with the Nemean Lion in a rich cartouche border 
(Pig, 152), while on the inside is to be seen Susanna at the 
bath. Generallw the cartouche work is employed in 2 correct 
fesling for style more for the outside; thus on the absvs 
mentioned dish of J. Courtoys with prince Lichtenstein, where 
the interior contains a representation of Moses with the bronge 
serpent and many fisures. This is the case with a splendid ro- 
und dish by P. Reymond in the gallery of Apollo of the fouvre, 


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329 
of the year 1569, whose interior contains scenes from he ola 
Testament. , 

It cannot here be our intention to give more than mere sket— 
ches, still the chief masters may find mention. Besides the 
before named artists of the Penicaud family, of whom the elder 
partly still belong to the 15 th century, as one of the most 
important is to be resarded the already often mentioned P.Rey- 
mond, who was continually engaged from 1534-1582, By him exist 
works of very different values, and indsed from the different 
epochs of his life it clearly results, that he worked with the 
sid of numerous workmen, whose works were naturally of differ-— 
ent worth. His name was so famous, that he even received ord- 
crs from Germany, and espscially from Nuremberg, since then - 
the before mentioned service of the Tacher family was obtained 
at the original place. That he was also highly esteemed in his 
home, we see by the fact that in 1557 he was chosen as a coun- 
cillor. 

Still greater importance and on the whole perhaps hisher ar- 
tistic worth had L. Limosin, who Senerally passes for the most 
eminent of these masters, although we also find to be proved 
in his designated works the assistancs of very few assistants. 
His earliest certain work, scenes from the Passion after Direr, 
dates from 1532. In the year 1535 he painted in sgray on sSray 

& plaque a composition after pictures of Psyche, that is 
xh ai by precious blending of the tones, especially 
of whits. Also he knew how to make the most delicata use of ¢ 
gold ornaments. Occasionally we also find plates by him with 
portraits of famous contemporaries, thus the portrait of Anne 
de Montmorency of the year 1536 in the gallery of Apollo of 
the Louvre, of extreme delicacy and cool coloring, that is 
still more effective by the deep blues snamel ground. fhe bord— 
sr consists of volute work with acanthus leaves, and this in 
Sold, while the panels on black Sround are gray works on Sray, 
and also contain two splendidly drawn male and female satyrs 
with playing genii. By their effective muscles and their bold 
movement, these fisures betray a very carly influence of the 
art of Michelangelo. Lb. Limosin also destiosguished himself 
by extraordinary fertility, since then his fame rose ever 
higher, and in 1551 he could be designated as “page of the 


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330 
king’s chamber”. Henry If and Gatherine de Yedici therefore 
Snirusted numerous orders to him. In his native city he was 
appointed councillor in 1571. In the year 1574 he finished the 
portrait of Henry II as Jupiter and of Catherine de Medisi as 
Venus. These are the last works bearing his name; in 1577 he . 
is reported as deceased, Op his most important works we also 
name the bowl of the year 1536 with the battle of the Gentaurs 
and Lapithae in the collection of J. Rothschild, a triptych w 
with the king at prayer of the year 1544 in the collection of. 
A. Rothschild, then tas unusually large tablets with the pict- 
ures of the aposties in the church $. Peter at Chartres, nearly 
2 ft. high, executed in 1545-1547 at the order of Francis I af- 
ter the sketches of the painter M. Rochetel. From the year 1553 
date the paintings of the cross-bearing and the Cracifixion of 
Christ executed at the order of Henry II and now in the Louvre. 

Of the other masters, that worked about the same time, we n- 
name J. Court, also J. Courticis, as well as ths younger members 
of the Limosin family, Leonard II, dean and Joseph, as well as 
tas younger members of the Courtois family, Martial, Antoine 
and Pierre. Likewise a female artist, Susanne da Court, is men- 
tioned. Skilful works were also furnished by a master, who des- 
ignates himself as M. D. Paps, and finally N. Nouailher (or 
Noylier) deserves mention. 

114, Glass paintins, 

In the splendid development of the art industries, slass pa- 
intins now had @ part in the 13 th century in a very character- 
istic way for France. If this magnificent art had already in 
the 18 th century taken the highest course, and participated 
in the rich development of the entire church art, now it should 
pass through a new bloom, in which it causes recognition of 2 
later climax of church life. If lay in the general conditions 
of the culture of the country, that althoush the Renaissance 
was first a secular art as sverywhere, still also in France a 
rich impulse was due to the needs of the church. We thereby 

ecosnize again the orthodox devotion of the land, that obstr- 
ucted the mighty currents of the Reformation, and finally sup- 
pressed shen in blood. Thus church architecture again passed 
throush a revival, that we have considsred above, and all dec-— 
orative arts and first of all slass painting, participate in 


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331 
this impulse. Hers now appear the strongest contrasts to Swit- 
geriand, where Likewise then rose glass paintings to the hishest 
perfection, for there was this beautiful art passed as easel 
painting into the service of private life, while in Prance it 

smained falthful to the character of the church. But although 
continuing in the service of the church, it could not isolate 
itself from the artistic current of the time, and so it wins 
mustely as free painting the highest artistic effect, but it 
finally yielded snubiftéky to the domination of Italian art, when 
at the same time it employed the elesant forms of the Renaiss— 
ance in architectural enclosures. In spite of so much destruc- 
tion, there are still preserved in the country so many works, 
that France can compStecwith Switzerland in the sabundance-of 
the monuments. A complete history of this later Slass painting, 
that is naturally scorned by archacolosists of the strict rit- 
ual, is still to be written. We must limit ourssivessto brief 
indications. 

Amons the most famous slass painters of this epoch RB. Pinai- 

ier takes the lead. He appears to have been bora about the 
nd of the 15 th century, in 1527 and 1530 he painted several 

in. S. Hilaire at Chartees, which created such fame for 

him, that he received an @ntire series of such orders for the 
churches of Paris. In the later time of his life we find hin 
at Tours, where also lived his sons Nicolas, Louis and Jean. 
Nicolas even painted in the besinnins of the 17 th century in 
5. Gtienne du jont at Paris a window with the representation ~ 
of the mystic winspress. From Robert came especially came es- 
pecially the choir windows in S. Gervais with the life of Ss. . 
Maria with great decorative and color charm. : 

To the earliest masters then belongs Nicolas le Pot, of whom 
we learned by the glass paintinss in the chapel of the chateau 
of Bcouen. Likewise his brother Jean le Pot was not merely a 
sculptor but also a slass painitscr. Then is to be emphasized as 
& prominent master Emsuerrand le Princes, who died in 1580 and 
whose sons Jean and Nicolas also pass for skilful painters. By 
jean the church at Tricl (department of Seine and Oise) distr- 
ict of Versailles) are seven magnificent slass paintings of 
1954 and 1557. 

A prominent place is finall: merited by J. Cousin, one of the 


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332 
most important French artists of the time. Born about 1501 in 
Soucy near Sens, dsad in 1589 --- he called himself Semonensis 
ITT he was ons of those artists of the Renaissance, who in the 
most universal way comprehended the entire domain of art, and 


also sought to further the theory of art by scientific deepen- 


ing. bike Michelangelo and lionardo he was employed as patater 
and sculptor; but at the seme time he designed as slass painter 


and copper engraver, and even if he himself was scarcely a pat- 


ternmaker, he still made many drawings for woodcuts. His scien- 
tific labors are shown by his book on perspective, as well as 

his book on portraiture in 1771. Doubtless Cousin made his stu- 
dies in Italy, and indeed in Rome, for the types of his figures 
aré those of the Roman school, and in the animated character 
of his compositions and the preference for bold foreshortenings 
is recognized the imitator of Michelangelo. The painting of the 


last judgment in the Louvre, formerly in the church of the Win- 


orites near Vincennes, exhibits a mass of small figures in an- 
imated groups executed like a miniature, warm and clear in tone 
and golden in carnation, and still on the whole with no sreat 
originality. As sculptor he is well worthy of consideration. 

by the noble status of admiral Chabot. But his principal fame 
is dus to the Slass paintings executed by him. In this art the 
twn masters J. dSympe and fT. Grassot, by whom was the southern ~ 
portal window of the cathdral of Sens, appear te have instruc— 
ted him. de himself worked there about 15380 on the window with 
the legend of S$. Sutropius, then in 1551 in S. servais at Paris 


on the martyrdom of 5. Laurence, the queen of Sheba, the paral- 


ytic and the Samaritan woman at the well. Abont 1542 in compet- 
ition with Nicholas le Pot he executed the windows in the chap- 


el of the chateat at Hcouen. jinally to his principal works be- 


longs the five windows in the castie chapel at Vincennes (Pigs. 
153), in which the splendor of Renaissance decoration appsars 
with particular clearness. The visions of the Apocalypse are 
represented there with extraordinary animation. mba 

Very beautiful and in the best spirit of the Renaissance are 
the borders of the paintinss, that are mostly in two divisions 
above sach other, below with simple arches on Doric pilasters, 
above executed with richer ones in the Ionic order, in the sp- 


andrels of the arches, the splandidly decorated friszes and the | 


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rich cornice with consoles of ths entablature and Sable, stran- 
sely enough intersected by Gothic tracery, presenting the lLux- 
uriant abuydance of the developed Renaissance art. 

Of the still numerous remaining examples of glass paintiags 
of this epoch we name in Paris those in Sa Sernin, S. Germain 
i? Auxerrois, S. Merry, S. Gervais, 5. Medard, S. Bustache, S. 
Btienne du Mont. In S. Martin at Montmorency are seen two slass 
paintings of 1524, in S. Michel for Orge remain four glass win- 
dows probably by R. Pinaisgnier. To the most important cycles 
belong the sever magnificent windows in the church at Triel ( 
(Seine & Oise}, executed in 1554-1557 by J le Prince, Christ’s 
entry into Jerasalem, washing of his feet by Magdalena, the 
death of hhe Virgin, legendary scenes, martyrdom of S$, Stephen, 
S. Roches, 5. Martin and others, as well as the tres of Jesse, 
lively and animated, nostly scenes rich in figures. 

Bat especially is the grand series of 37 windows in the chu- 
rch of Monfort 1*Amaury (Seine & Oise) from the years 1544-1578; 
--- representations from the life and sufferings of Christ, the 
lifes of S. yaria, story of the apostles, in great part of high 
value, at the same time with magnificent architectureal backs- 
rounds and rich Renaissance porticos, which sometimes still be- 
tray the earlier, but mostiy the developed forms of the style. 
Bxcellent Slass paintings are then in S. Etienne at Beauvais, 
and preferably amons thom ars the Apocalypse and the tree of 
JOSS. 

Gikewise Normandy, especially in its eastern parts, is always 
still rich in works of this kind. We name in Rouen the cathed-— 
ral, S. Vincent, S. Parics, S. Godard, then in Hlbceuf are S. 
Etionne and S. Jean, finally in the church at Gisors the beau- 
tiful glass paintings entirely under the influence of the art 
of Raphael, especially the noble window with scenes eens the 
Life of S. Maria 

Amons these ate masterworks of slass painting, aiso onaee 
in the church of Brou assume high rank. Perfect mastery. in 
composition, drawing and execution in golor are combined with 
an extremely refined decorative senses for arrangement, distri- 
bution ofdicolors and ornamental treatment. In the last respect 
appears at once, that the executing artists have almost ent#re- 
ly outgrown the Gothic, and it only occasionally appears in 


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> lo sobae foe seinoitusg yd fedeingaise st oie aged 
nt wolaceze @aiaeels tight ebavow eoid wie no sev adit 
chlo asin BLod yd bedacoeebh yldoke bes amaod eoneee 
ct Siepue eis ee Llow es jebnelaed ddiw lined pak 
a add of Sacied cetwadil enangtt yleosivg add ddaen 
‘fedtinetc: sac .geldeg & bled ulazas seeds Yo on? 
ealsses Gadto edd eftiiu ,duediLide 20 ddesh ant fe 
p asec oct ig movida ybsotle esu sasg akit dedé 
- > sevedopbdoss 
Tinedy: % soatte odd Bopooed: Jago ligahem sacw [Lise 
| beliis yissivse ete stvisd SoQgs O67 sepeosd ,enobhein 
Soteoons afedi to eadud: iden ,i6q Yleoning sid tq smep 


‘Bniseots encithiasesiges epeddy .eanod tofeo sola oat 
eines 3 as gedt Iacitiedsid 8 teddaa eves vinietseao reviise ive 
* +b iene 4 done sot efehom fomsed od ILise degm ‘yous tnd :ieoxstal 

tae peek ass exchnin shits sento owe ont eonie. -Baeldosq ocb 


| igs omar te evel yibisow ,yetg Lis to efiga of ei 


witilg : 


hat se, Ae pet ile i aN “Alt eth Apc aed Ata ae 


| gosasis Apa edd yesded <tonngit esd: sae ions 
p weieiteden edd to ependzext bam ytneed oT .cogasets 

die ,nolserooeb tied? bas eesntacs tnooitiiakes adi te 

m doecilinsen ovit odd Bevrsseag yietelguoo iitte exe | 

) | eldncebienco steaT adasg ows of bobivib fos did gt | 

| ee mk snote wobnie cipbin ed? .yislish ¢ yd besooaid | 


Q novia edt nese wb freq Wqqd odd ti nisks jnG).nobt 


peGissed baibcede ¢aige nosdag eid diiw .deeh seyecg' a exot 
fiseg eaze oif ok ef olin etd (ntsitsow) sdain ond te oftdn. 


od anigaoled geivio. Bas eettinth eacitssoo ets Yo’ 


} me es ybeenle tadt noea ab th tennen teitate gal. 
ed hoided. aaheoss: anoigifes. ont .emid wan eat to- : 


hee ea i: art Serene: est seve, b pacer 


Ue Ogle en Sa 
Poel goss. aS. 


334 
ornamental crockets and opem foiled arches, while the principal 
forms, and particularly the canopy architecture that serves to 
enclose tbe figures, betray the forms of an elegant early Ren- 
aissance. The beauty and freshness of the materials, especially 
of the magnificent costumes and their decoration, enhance the 
teuly magical impression of these precious works. In the choir 
ars still completely preserved the five magnificent windows 42.6 
tt high and divided in two parts. Their considerable heisht is 
bisected by a sallery. The middie window shows in its lower p 
part the Saviour, who appears to his mother after his resurrec- 
tion. But again in the upper part is seen the risen Christ ap- 
pearing as a gardener to Magdalene, who falls at his feet, wh- 
ile the two women with her fill the background. In the window 
a% the left (northern) below Philibert ths Beautiful kneels be- 
fore a prayer desk, with his patron saint standing behind hin, 
while at the right (southern) his wife is in the same position 
and accompanied by her patron saint, Ss. Margaret, These repres- 
entations, that are related to the usual forms of altar paint— 
ings, are distinguished by particular splendor of colors. Over 
them fise on sky blue Srounds Light sleaminm canopies in Renai- 
ssance forms and fichly decorated by gold ornaments. The knesl- 
ing senii with Sarlands, as well as the angels holding arms be- 
neath the princely fisar 6s likewise belong to the new style. 
Two of these angels hold a tablet, one cfwwhich shows the date 
of the death of philibert, while the other remains void: proof 
that this part was already completed before the death of the 
archduchess,. C4eB 
Still more magnificent becomes the sffeet of these splendid 
windows, because the upper halves are entirely filled by the 
arms of the princely pair, with those of their ancestors and 
of the courtiers, disnities and cities belonging to them. By 
the rich color tones, these representations sleanins with gold 
nad silver certainly have rather ea historical than an artistic 
eae but they must still be termed models for such heral- 
dic problems. Since the two other side windows gare decorated 
in & Similar manner, it is secn that already as an expression 
of tho new time, the religious recedes behind the personal,. and 
is in spits of all piety, worldly love of fame wins everywhere 
influence over the treatment and even the church problems. 


J 


akon in oa + ai leeed : ; i BARGE OS Ci 3 ie 
(6 30 fogedy. odt te 
| fT OL tuoda 


Pind 


iw fesod a ddin fared oe iS nl’ .etcel 


Yo netted 2 sexg0% +204 nb 8 wd Bellis 


Seah) - 


Lnoveed ‘edt ts e304 Bas 


Was 


rot, of wh Fae mie : i a my ey ee 
SoLTeSlG Hola oR Sootgsa bs 


nee ae 
oe gt aa) 


—eeibeete yl: 


ead 


vs 
“ " oS ¥ al iw 12g, 
ae Vee * m 4h or: aire Ave) 


> T ene > Tye 
sh ok VAs Am ST) he slVeE* on 40 Ewe Y weld. hie 


7 f "4 : : Zz 
oben aise Sisq edi eonetasggs to scebasiaz 


a ae 


. haw = . al Ne ve 
ys A y - 
| sy See oy A Ps Li ist os Es he Prim, ponte i $n a Cas 
idod a 8 BAGUIRa 2 ‘ Of y Pe a : , ; 5 


Pe ee Ne Se 


t ae 


"te GU we wt | ake AK YU MO Aksoy 
- vo “+> ek > ~ pee wb fe 
eee. « egd GHOUTR Bivg 


aA” mime 
7 Mek wr nk er ee 


- 
a™ — 


i iat ie eV 
¢ LEV ROBY ng 


tees 


, 
o Gi wd 


rye wea 
i Bh wel WS Seas 


> ren oe ey % ida Pe PK 
: 2s08 wl ay St th eT Y iaoran * 
re PE 2% 
SLITS 


* 4 r 
Wa. OC ey FT? Ee 
Pa * Cee are © PS ooh, 1S ere ge 
a ey ea 
~% f 


bart ‘ er fal 
™ ~m be i 


p dtacacd * eres +: 
3 ic gainnovo 


was fe) Sh) a so eo Cee 
‘ 5 


335 
Incomparably greater importantcthere is ths principal wimdow 
o£ the chapel of S. Maria. In five bays with a total width of 
about 10 ft. , it is filled by a sreat representation of the 
ascension of the Virgin. In the middle soars the sacred form 
of the transfigured, humbly bending the head and crossing the. 
arms on the breast, while God the Father and Ghrist are enthro- 
ned at each side, and together place the hsavenly crown om her 
head. The entire representation breathes the plain disnity of 
tas sarlicr art of Flanders, Beneath the apostles surround then, 
partly kneeling and partly standins, with tokens of astonishn— 
ent and view the open sravs. Rntirsly in front on thse contrary 
knesl in all princely splendor of appearance the pair of found- 
ees, accompanied by their protecting patrons standings behind 
them. Art has asain employed on this sroup its entire ornamen~ 
tal charm. An elesant architecture of Renaissance columns forms 
the enclosure. 

Over this rich scene is now arranged a frieze in a remarkable 
way, that in Littles figures and beautifully executed represents 
the triomphal procession of Christ. In the middle is seen the 
Saviour of the world on a chariot with the symbols of the four 
evangelists and drawn by the four church fathers seiumphantly; 
before the chariot are the chief representatives of the Old 
Testament and behind it those of the New Testament. Im the for— 
mer Adam and Hve begin the march, followed by patriarchs and 
prophets, and the mother of the Maccabees with her seven sons; 

n the latter are the apostles, martyrs and other saints, amo-— 
ns which is prominent the colossal form of the Christ-bearer 
¢ 


ings of the windows, entirely in the senses of the Renaissance, 
are formed of flower yases,sleafascrolls and dolphins; then the 
openings of the tracery are entirsly filled by praying, musical 
and rajoicing angles, wherein the sgilfal uss of the spaces me- 


reseeved window, adorned by a representation of Christ, 
who appears to doubtins Thomas after ths resurrection, Beside 
it knee] Laurence de Gorrevod and his second wifes, Claudine de 
Rivoire, accompanied by thsir patron saints. Bensath are seen 
both shields of arms, but above in the crowning of the window 


2 
In the neighboring chapel of Correved is likewise found a 
4) 


ef 
iy Mae, 


a8 aie 


bis i 


ohne tee Xé Beecioa: e1a''% bode ede 


toLoo $e beoose 


i ~ Saeeeae sé 


he Pay fe > 2% 
q te ee o, ‘wo 


ae al oad 1 
eS 


ry ¥3 


mre 
ab Sr ae Ae A Se 
-s 


by ae ot 
awe 


Abas Gy 


336 
ars the arms of Philibert and of Margaret. All these arms like 
those in the choir are enclosed by garlands of green leaves, 
WOSe appearance unites the accord of colors in a refined har- 
mony. The uusaually rich architecture, that encloses these rep- 
rese¢ntations in niches and canopies is a luxuriant mixture of 
Gothic and Renaissance forms, more playful anf sportive than 
on tke other windows. In the cpenings of the tracery are again 
seen numerous praying angels in a charming diversity of pose 
and places. 

We still find two beautiful nit well preserved painted wind- 
ows on the south side of the church. The first belongs to the 
chapel of the seven sorrows, which abbot de Montecut, almoner 
of the princess with her consent, founded for himself in 1516. 
Christ is seen at the supper at Emmaus seated with the two you- 
ths and breaking the bread. Below the pious founder kneels ina 
prayer, accompanied by S. Antonius. The upper part of the win- 
dow is decorated by scenes from the story of Joseph. in little 
representations are seen how he was betrayed by his brothers, 
then is given Pharoah’s dream, he is covered with honors by 
hin, and hé is recognized by his brothers. The openings of the 

tracery algo here are filled by singing and playing angels. 

Thos last window in hri south transept is finally devoted to 
the chaste Susanna. In the upper division she appears as acceu— 
before the judse» in the lower the wise Daniel brings to 
& her innocence and the judgment of condsmnation falls upon 

he two old criminals. Composition and execution are here sin- 
pler, but are treated in the same spirit and feeling for style 
as the other windows. 

@ corresponding glass painting in the northern transept was 
destroyed by a hail storm; also the eastern half window of the 
chapel of S. Maria has lost its former decoration. Yet still 

existing and well preserved parts of .this rich decora- 
tion present excellent examples of this highly developed art 
of Slass paintings. 
115. Bookbinding. 

Since we found in book illustrationn the first vestiges of 
the besinning Renaissance in France (S. 5), then may some re- 
marks on the external treatment of books, their binding, close 
the circles of our investigations. [it is still in this domain 


(86 bebsegaa. eg ce 
seers Snediin 3 


PION midge 
ebirh te 


rane ro ‘ “4 o x 


ew Se ‘a “ - ~ 


gala 
IOV 
orge 7% 


Pose sh a 


2 > oF 


Me we ~ 


we 


Se ST 


elven 


bok aap eat 


is 
isc2s% GER 


Ro 


% erg: 

4 . t 

_ 
ee ele ee Ae Ww Set Oe 


2» 


I 


a’ 


er ‘4olileb a2 
ere ka A 


I iS, a. 


an® 


“se 


thm Tt 
Cree ts oe - 


+ a ® 
LIC 


of 


nd 


~ 


Pe er ser ae oe reek em 
et 2 he! 6 & Md dis, 


337 
of France of very sreat importance, so that its excellent works 
of the 16 th century must pe regarded as models aven today in 
tae maze of bookbinding without style. 

It was already known in the carly middle ages for the magnif- 
icsnt manuscript books richly adorned by miniatures, how the 
Church used as gospels, antiphonaries, ete., making a costly 
binding indispensable. Plates of carved ivory bordered by-sil- 
ver or sold, or aven wrousht plates of gilded silver adorned 
by gems and pearls, formed the covers of most manuscripts on 
parchment arranged in folio form, In the epoch of the Gothic 
already occurred leather bindings over wooden boards instead 
cof these splendid materials, and generally received artistic 
tesatment by carved ornaments, by punched patterns and stemped 
forms. The principal means of ornamentation were the ornament- 
al bands executed by metal rollers. Metal corners and clasps 
completed the strong expression od these monumental works. 

Bat bookbinding attained the highest artistic development in 
the time of the Renaissance. Besides buildings and paintings, 
books were the great ambition of that sreat and intellectually 
active spock; to possess costly copies in artistically perfect 
bindings was the competins endeavor in all cultared circles. 

The libraries of the Medici and of thesPopes, particularly of 
Nicholas V, as well as of prominent nobles like the duke of 
Urbino, and then also the famous collection of king yathias 
Corvinus of Hungary, were distinguished not merely by the con- 
tents, but also by the external appearance. The important Ven-— 
estian printer Aldus caused the bindings of his books to be dons, 
probably by oriental workmen, wio wers aiways famous in the t 
treatment of leather, and thus arose the peculiar Moorish char— 
acter of the ornamentation, which thence forth determined the 
stamp of the Renaissance binding. For from Italy was soon trans— 
planted this treatment to France, where it experienced an ssp— 
ecially fine development. 

It is first distinctive that the literature wes more flexible, 
and that on the whole the great and heavy mediaeval volumes, , 
aside from many exceptions for churck or scientific books ceased. 
In their places appeared smaller and lishter volumes, by #hich 4 
was made a more general and mors accesible and convenient books. © 
Thus disappeared also the heavy woodin covers of the middle ages 


én 


a ae 


eh be aa ky 


eigw .atiia 


Las ie a be : 
Bi WSases oles 


oo 1 eee) ee 
‘y eh, tena 


338 
with their metal corners, clasps and buckles, and instead occ- 
urred a cover made of sheets of parchment, whose fineness and 
smoothness was important for the execution of decorations stan 
ped in sold. Where velvet or soldsmith’s work was not used as 
in certain cases, leather chiefly formed the covering, with 
that perfect preparation learned from the orientalis and desig—- — 
nated as cordovan or morocco (frog Cordova and Morocco). It is 
further characteristic, that these books were made on linen 
cords, that on the back appeared as strongly projecting ribs, 
(“bands”), and on the earliest of these books are so numerour, 
that scarcely space is left for the back title, and rather a 
middle pansl on the cover was left for the title. (fis. 154). 
At first was employed a dark leather of the natural color, be- 
sides which from about 1530 occurred a bleachsd parchment or 
one variously colored, which in combination with the sold orna- 
ments often gave to thess works a magnificent polychromé expr- 
ession. Por the execution of the ornaments BP. Gaillard invented 
instead of the earlier metallic rollers the so-called tools, 
crescent shaped irons, by the use of which the refined feeling 
of the artistic hand came to be employed. 

As for the ornamentation itself, the deep stamping of the 
Gothic epoch, which in Germany was obstinately retained for 4 
long time, was @radually supplanted by a true surface decora- 
tion. The motives for this entirely belonged to the Orient, and 
indsed the Moorish scroll with its peculiar Leaves, completely 
dominates the character of this ornamentation. Yet there are 
aiso certain examples, where ths somewhat more natarakistic 
flower scrolls of Persian art were adopted, as in that magnif- 
icant Venetian book cover of the library of #. Didot, which is 
adorned by 4 orecious paintins of Pyramus and Thisbe in the OG» 
oval middle panel. Yet these are exceptions, since in seneral 
the Moorish-Arabian decoration predominates. It is that well 
known from Moorish architecture, a play of plaited and inter- 
woven bands, as well as of richly developed scrolls, which ex- 
tend in those specific Moorish leaves and flowers, for which 
no models are to be found in nature. Thus it is the same orn- 
amintation, which was transferred from bookbinding to the fan- 
ous Oiron faience (S. 111). This ornamentation, which brings 
out the surface character in a most perfect manner, and whose 


be 
a wo edd 


YS, 


webi i tedtap .ebusd becefzedai to sebted besiisnctoney. 


Bah .tevoo cit bavcis ehnetxe axon Lewse yd Bezsacned 36 
belli J$ta: sc Jnaca¢ #ieL 1edtio Sond eve ecoetine tginin 


oa 


Radic evoty ,clenng heagised yLiniisussd to sedaen a od 
nit sedtc eit ob beyoigne tedd d¢iw atesasnoo niabe node 
“eeecs to soatic baidetnoies odd doldw no. teandoos cist 


ne overage asageoi fellec witagota .erolco. sna wttib Yo 
vy of, feselog yitdhisd fo eysini S1¢ sent) boa géned 
ag obavess tetanb edd, tc tueatsorg exocood yoxrolpak mete 


) Meigniz oes c1e aolgmsxe ssdois easdd eable 


bay gine ony o102 nent baw ubuad becalssini ylasors 


rs 


Mf he 
bs 


Ber -Bi% Snemtpent elyte eldon oft yd yttotlosde. 


(eco doidw gatiald edd to-setdarado edt at eid?) 


+ aa ape Bayt oh 


; i : 


cater 
es | 

ip ‘ i. Hand age aw | bis 
¢ a. a ws vt ye a ee ft is 


a 


he —e 7 i>, 
Je aT = + eke Ruts. ; vs ‘ } fl 
bas 6 di al ie vo NaI Ta headlight Oy Sa 


weig s1.olor ‘8 Vereen nated sPhES oF extéon ‘ 
sonad 10 ‘daebmegobat teiciach asven (eeye edd Bae 
io yibnexd negto bas east aii elise eostuee edd save 
f) xe Sreigasd edd at ovege roviy edd 0% dedqade exe. 
Bovents edt a0} favacvss 22 Jeneq eihfts 2 ciuy # es ty, 
Guaed w yd Seaolone ef bas, .docd-sd# Yo eldid. edd soi 


. ae - >) a ee 
2 
ar a 2 et mg . 
—_—_—" = nal ~~ 


Settwetiav wisvidoette redcenedo Lotooat eecdn ,etnomenng «| 
Se Missonpss: ef spaisns exizce odT .edreg toddo odd ic tedd 
feemag olbbin ac? woxt yakbeeoorg wbaed gatoeirsdni yo Lok 


7 So ean add. yd foesoront eevee eh ~howad ef wiacw Lod 


carla i grthaas ye esac? xd beriatdo seit ei tobnsige te, 
) Sedesen yiteom cia etawolt Foe reves! ea3 nasa. 


pean onla ete eced? «(REL .2i) nokverceeh 
 stindeG ww to moltoel ios. edt ‘mex: abet 


eantvis -conast ni heouboatnk vert? ssilosd .b revel! 
Pemes ocd of beliso node bag ,nelty ge ncingecté wae” Bett 
is Bitosed eit vont od plas ak boatesl bed ed .soneay) pe 
J odok weds beonbownt fae eoneeeiages edt to epsth! ) Laan 
yas bevios ylovieesoone ed FREL nt Useeb ald [2300 
dt ped eeizaicqmotace’ wit Yo sdnemadase edd ot galhioy bi 
a eaey ; es etd af esye swo hi vehow bowed ad of adood. © 
feif Yo sxe wbolbnid setlor od® .tiorakd os r8q Mood. 
. tes & | , yleat? edd to yachaad ni hesesqicenn .soasgels | - 
| edd. be Qsirolos-Jccokitagam .notioeiasg Lecindoed. at een . 
‘oem oe sag \tlndien ah otal eat to shaman | 


339 
high conventional perfection is based on this, that it is never 
untrue to this, being merely a harmless play of forms delisht- 
ing the eyes, never desiring independent importance, extends 
over the surfaces while its fres and often grandly curved lines 
are adepted to the given space in the happiest way (fig. 155). 
As @ rule a middle panel is reserved for the arms of the owner 
or the title of the book, and is enclosed by a beautifully con- 
ventionalized border of interlaced bands. Further a wider bord- 
er decorated by scroll work extends around the cover. The ren- 
aining surfaces are then cither left vacant or are filled by 
ornaments, whose graceful character effectively varies from t- 
that of the other parts. The entire surface is frequently divy- 
ided by interlacing bands proceeding from the middle panel, in- 
to a number of beautifully designed panels, whose ornamentation 
then asain contrasts with that employed an the other surfaces. 
This contrast on which the astonishins effect of these beauti- 
ful works is based, is evsn increased by the use of Leathers 
of different colors, properly: called leather mosaic, when the 
bands and lines are inlays of brightly colored leather of gre- 
ater dehkicacy become prominent on the darker ground. The hish- 
est splendor is then obtained by these by gilding the ornaments, 
when the leaves and flowers are mostly hatched (fis. 156). Be- 
sides these richer examples ars also simpler ones, on which va— 
riously interlaced bands and lines form the sole motive of the 
decoration (fig. 154). These are also characterized in greater 
Simplicity by the nobls style treatment. Fis. 154 gives an ex- 
ample from ths collection of NM. Dutuit. 

This is the character of the binding which the famous book— 
lover J. Grolier first introduced in Prance. Living until 15385 
as treasurer at Milan, and then called to the same position in 
France, he had learned in Italy to know the beautiful bookbin- 


dings of the Renaissance and introduced them into France, where 


Until his death in 1585 he successively served four ousens. Ac— 
cordins to the statements of his contemporaries he caused the. 
books to be bound under his own syes in his palace, and even 
took part himself. Ths Grolier bindings are of distinguished 
elegance, unsurpassed in harmony of the finely suited soft to- 
nes, in technical perfection, nagnificent coloring and the 
charm of the design. The covers are mostly made of morocco or 


igen orto. a0 8 le 
(y ser iz Lanes & Ap ‘ wa . Min 


ery eee | 


ry 
we 


Sige * 
pay de. 0 


Ae es 


aur €2 


hare Ae 


halted 


fut) bye 
ee ee 


4 i ‘ 
DRG GO? Baesscaxe 


349 | 7 
brown calfskin, the ornaments in goid or oliva green, also in— 
desd executed in gold and black on a brown ground. These noble 
works with the inscription, “for Grolier and his friends”, now 
cost thousands. 

Likewise G. Tory already known to us (1p. 20 ste.) devoted hb 
his ettention to bookbinding. The bindings produced by him are 
mostly mads onpsheepskin, as a rule are only adorned by ornan— 
snts stamped in solid, but exceptionally have additions in col- 
ors. His arabesques show fine sgroll work, which we already 
know from his borders. As a rule he knows how to combine with. 
these in the most skilful manner his mark, a broken jug. Also. 
the edses of the books were not Left plain, but to them were - 
often siven colored ornaments on ths gold ground, executed 
with the punch. It is peculiar, that the bindings sxecuted © 
for francis I are distinguished by sreat simplicity: mostly mo 
made of black leathsr or velvet of the same color, as a rule 
then are adorned by plain and broadly treated bands, in whose 
interlacings already appears the bedinning cartouche. We sive 
in Pigs. 157 an example from the collection of 4. Dutuit. In &: 
tha middle panel is then seen endatdotteédosraund the royal arms 
with the salamander, all in solid. Thess bands make a particul— 
arly dignified impression. 

yore magnificent and elegant appear the bindings that Henry 
II caused to be executed for himself or for Diana of Poitiers. 
(ts. 158). In chateau Anet were found about 300 of these spl— 
endid bindings on soatskin or sheepskin. Their ornamentation 
consists mostly of cartouche work; yet occar also the simple . 
and refined arabesaques of the sarlier time, mixed with quiv- . 
ses, arrows and the crossed crescents of Diana. A beautiful 
example of tke bindings executed for this king is siven im Fig. 
159, characterized by the dignified economy of the ornaments. 
In the middle panel is the richly snclossd royal arms with © 
the initial of Senry. On another unusually magnificent bind- 
ing in the possession of M. Dutuit is placed in the middle and 
of the four corners the protrait of ths king in the form of an 
antious imperial medallion crowned with laure] (Fis. 160). Bar- 
ther belongs to the most beautiful of such products of this 
time a binding executed for Anne de Montmorsacy, given in Tech—- 
aner, that we give in Fis. 181. The broad interlaced bands in 


ii 


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341 

their beautiful design form an? animated contrast to the fine 
ofnansnts of the margin and the spiritedly treated a tanges 
ones of the Laner surfaces. : 

About the end of the 16 th century appears a new booklover 
in the well known French statesman and curator of the royal 
collections and library, @. A. de Thou, who again devoted his 
particular care to binding, after under Henry III of Sinister. 
memory a mode of treatment had occurred, that by its sgeonstri- 
cally distributed shislds with the implements of the crucifiz- 
ion stamped in blind work or in silvex produced a a singular 
and morose harmony corresponding to the character of the king. 
De Thoa’s bindings, adherins to the precedent of Grolier, again 
rise to splendid beauty. Mostly made of red morocco and decora- 
ted by the initial and arms of the owner at the middle, they 

e divided into separate panels by broad interlaced bands ,ouly 

ari smaller of these being adorned by Arabian scroll work, wh- 
ils the larger surfaces are ornamented by beautifully convent- 
Lonalized laurel, olive and oak leaves. fhe technical execution 
is of the highest perfection. 

In the 17 th century is the bookbinder of Anne of Austria, 
Re Gascon, was busied till 1655, who upheld the great traditi- 
ons of prance in thi. domain (Pig. 162). Adhering to the earl- 
ier mode of treatment, he frequently employed interlaced bands 
as the chief motive for the division of the surfaces. The pan- 
sls of manifold forms resulting thereby he then filled by a 
play of lines, that had nothing more to do with Moorish elen- 
ents, although it was based @n an allied principle of surface. 
decoration. But the last echo of natural foliage is removed, 
and consisting of dots (made with the point) arranged beside 
each other, having spirals and produced by stamps, received 
new life by certain bolder points. Particularly was it be Gas- 
con, who had to execute the books for the famous library of ¢ 
cardinal Mazarin. Tae dignified magnificeace of these bindings 
was first based on the monochrome tone of the leather and the 
both rich and noble design of the ornaments and the happy div— 
ision of the surfaces (Fig. 168). Interlaced bands in firm con- 
nections form a system of variously designed panels, the middle 
one being edorned by the arms of the cardinal and the others 
by ornamental scroll work. All other surfaces are covered by 


ton ha pnt. J bizo seoa/e4t Yo sopnsdese pa 

 cuesametw tte od rhepretst exode Ceaok i 

“Bo ob tuo awensoctos ge Hct uetaite a2 paiks, a 

Racy! Peis 

id toneee sebiyae te venules datas: deel eat ene geod? |.) aan 

g to eiron Ils détw yely detupan se bersne00 acoe: oank ae 

P eonie bus. ,soldetnodante Sidon to Bassent sioatte 10 | 

Siinern’) ecinets Eas sidasm etatint of us ast ca inom aM 

1 b heveten to enaaqacggs eit teddse! ent evin’ ot seve) ae 

‘3 ns scat solésinemante odd of gnitadini okedat xtet : 

P eelctoutsg Sanow edt teol esew yderedt. tedt oe ewok) | Re 

7  et0m iii end aeigeresienco a00 .elyga edd ni noht) 7 
ee: ’ 0 lyetebroaks oaeiid Pah 


ae 


gl 


ep i 
Ly , Ses 


Wwe ee ee ee rv Pea © 1 ee . 4 ¥ s bh 
OER reg Oh Se en cs er oe a 
y v , 4 : : han oy, Rey CoS m4 ee ae \ 


: 342 
an arabesque of the most original invention and refinement of 
lines, whose intervals he animated by innumerable little dots. 
fhe techoecal mastery of the execution of these ornaments pla- 
ced in shining gold om monochrome ground is of unsurpassable 
charm, 3 | . , 

These are the last undertakings of stylish Prench bookbind- 
ing. Soon occurred an unquict play with all sorts of novel eol- 
or effects instead of noble ornamentation, and Since then mea 
went so far as to imitate marble and granite (“granite calf”), 
even to give the leather the appearance of watered double taf- 
feta fabric, imitating in the ornamentation lace and fanlike 
forms, so that thereby were lost the ground principles of crea— 
tion in the style. Our consideration has nothing more to do — 
with these disorders. | 


Ee 


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3 


343 
TABLE OF CONTENTS. 
These pags numbers refer to this translation. Page 


Preface to first edition ---+---+--+-+-+-+-.---.---+. 2 
Preface to second edition ------+---+-+-+-+---- 4 
Chapter I, Transformation of French spirit- ------- 6 
1. Italian campaisas of Charles VIII and Louis XII--- 6 
2. Influence of Italian campaigns on the nobility --- 8. 
8. Enfluence of antique studies -------+------- 44 
4, Jean Fouquet -----------+--+--++--+--4 18 
5. Book illustrations ------+--+-----+--+--- nh a 
6. King Rene of Anjou -----+--+-----+-+--+-+--+--- . 26 
7. Intellectual tendency of Francis I ----+----+--- 29 
8. Revolution in the literature --------+---- - 32 
9. Rabslais and the abbey of the Thelimites - - - - - - 34 
10. Francis I and the artists ------+--+--+--+-+-- 36 
11, Foundations of the Prench Renaissance - ----- -— AO | 
Chapter II. Transition style under Charles VIII and 
Louis X22 ---------+-- Se 43 
12. Revival of church Gothic- ------------- 43 
18. Late Gothic secular architecture- - -------- 49 
14, Chateau of Amboise- ----~+----.. 29 [gee 
15. Chateau at Blois- ------+----+--+-+----+---- 54 
16. Ghateau.of Gaillon- ---------+----+--+--- 57 
17. Artists of Gaillon- - --- - ere eee ee eee 60 
18. Monuments at Rouen- ---------------- 83 
19. Ducal palace at Nancy -----------+--+----+ 85 
20. Tombs ----------- Bene eee ee ew a6 
Chapter III. Renaissance under Francis I- -----+---- 69 
A. Royal chateaus --------+--+-+-+-+--++-+-+ fate) 
21. Ghateau at Blois- -------- ------ -- + ee) 
82, Gbhateau of Chambord —~.-4 -!2 -- 4.5 .-) 45 73 
23. Chateau of Madrid or Boulosne -. - ae, ae, Me er ris 
24. Chateau of Fontainebleau- - -----+-+-+-+--+---=+ 31 
25. Buildings documents of Hontainebleau - - - - - - - — 87 
26. Chateau of S$. Germain-en-Laye - -------+--+--- 92 
27. Ghateau of La Muette-------+---+--+------- 94 
28. Ghateau of Calvaux- --------- eee ee owe 98 
29. Chateau of Villers-Coterets -----+---+--+-+--- 38 
30. Chateau of Folembray- ------+--+---+--+--+--- 1.00 


Fy 1 dees i2octheh Yo waededd pi 


wt 
“== aye “= sxoseoncasd> Yo naeted® .86 °° 
-~ = ee | WIHE Yo wesiehh .88 he i: ae 
oe et = Bom mm te SORTeT/ Os te saotedd SS. a ¢ ee 


eye So = + o> mel bvagestal to: nectadd tS ° |) ee 
~ oyiitdaedd to seetadO 4a: | 4m 
aot ne tis - + nakoseten9 20 ceozsda se 
fee H+ + + + His = wheb tao Loqesa/ to: wabtedd ,8o | 
-- se halla lr ead at Beli buagesused lo dsetedd .9¢ 
em osfod edd tc. somivonrg edt sk ecactaio: vadd0 Ob 
Rie a a me Sy oyster ak eupotedO . tt 
Se sin + =~ esonkvorg eff! ot. epeedadO 6h 
sate em es = © tek O85 ‘ck avectedd 6h 
“+ hime ~ ebm Shepenteod to msssadd .6h 
a Le eae ghoges® ohne ecreretsres .v mezgedd 
bee Pim mel ie ROE E tod eto) |.) 
a + eee oe eenibiind yito to sakosge 2b ME 
Lee meee ee et ERE Te eosieg a*geseiddowh 638. 
Setislickak + om = onend de(ellivoo® selenst > vey) 
Set ee Se yhtseioy ai eathiind sisving sed30 .8s 
| sme Sim = anoeled ge fes08 g40R4 Yo synch eb): 
| er ita se = eneehsO fail atonnrt te éeso8 .08 
: 20 BS sow dsdwie Sled Bae Boow to assibitns .t2 
a. ~~ woasled te wsefies to agekatind edaviwe 482 
‘aaah = =enselo0-te ate dos foe edokad' So agathians .83 
if eee » ecae1? Ieatnep mi abathited esavicg roasO be: 
: ~ + Sa e+ A Sete ee Tietoasdd, to isapod 23 
eee. 3  poobsagasd ni pbolilted atevicS 08 
Tt A te etal Ga lad tid 688) : 
mt 4 + +m aoe epomaboees fo Lled git 128 07) ey 
Sm Sw moe nie iin neReS tail fee yS90 |.08,) 5 a 
oo ee ie ss -enkatsued Ohida? 6a - os 
eatii stole¥ tmel tebme eonangtancA .1V sefasi2, 1) h 
~puton thed? Sas engtane Legioate? 4a, ie 
~ = soudd sdb Yo! auck$ibaco bepmas .f8 09 13 a 
- ~eandoet iene ‘oat ae ere to 


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344 
Chapter IV. Renaissance under Francis IT--------- 4102 
B. Country seats of the nobility --------+--- 102 
31. Chateau of Nantouilict- -------+--------+- 102. 
32. Chateau of Chenonceaux- ----------+--+-+-+- 104 
33. Chateau of Bury --------+--+--+---------+ 406. 
34. Chateau of Le Verger- -------+---+--+--+---- 107 
35. Chateau of Varangeville ~------- pe | Shine nen ee 408 
86. Chateau of Chantilly- ------------+--- 109 
37. Ghateau of Chateaudun ----------+- - - - - 112. 
88. Chateau of Azay-le-Rideau -------+----+--- 414 
39. Ghateau of Beauregard ---+--------+----- = T5 
4). Other chategus in the province of the Loire - - - - 116. 
41. Chateaus in Normandy--- -----+-+-+-+--+-+-+-+-- 419 
42, Chateaus in the provinces ------+--+--+--+-- “420 . 
43, Chateaus in the South -----+--+--+-+-+----- - 18? 
44, Chateau of Bournazel- ----+---+---+-+-+--+-+-+--6- 126 . 
Chapter V. Renaissance under Francis I- - -- -=+-- - — 130. 
GO. Gity buildings -----+----+-+-+-+----+-+-- 130 
45. Species of city buildings ----------+---- 120. 
43. Arehbishop’'s palace at Sens ------+-- , wo on ae | ing 
47, Mansion Bcoville et @aen- ---------+=+-- = 136 
48. Other private buildings in Normandy - - ------ 189 
49, Seuss of Agnes Sorel at Orleans -------+--- 144 
50. House of Francis I at Orleans ------+------ 144. 
51. Buildings of wood and half timber work in Orleans - 146. 
52. Private buildings of ashlars at Orleans - ----- 148. 
58. Buildings of bricks and ashlars at Orleans- - - - - 150 
54. Other private buildings in central France - - - - = 153 
55. House of Francis I at Paris ---------+-+-+- 157°. 
56. Private buildings in Lbanguedec- ---------- 158 . 
57. City: hall at Orleans- ------+---+-+-+---- 180 
58. City hall at Beausency- --------+------ 163. 
59. City hall at Paris- ---------+--+-+---- 164 
60. Bublpenfountainss:-)= elsif os --- - 168 
Chapter VI. Remaissance under last Valois kings ----- 179 
A. Principal masters and their works- ------- 170 
61. Changed conditions of the time- ------+---- 170 
62. Transformation of the architecture- -------- 174 
63. P.ckescot! ahd: dit Gongoe mim mm) ie ml a 177 .. 


64., Pataca of Che, Louvre ys ae i ee .- - 181 - 


aus rn ii ul 
: ; i eis 4's y is saa ¥ * ‘-nss0500 by va oy ta i 
, -- ease ome oe 7 -- eanttL. ef grod 21205. ae a! A 
~" ar rere tre one Ce - - wennisign g*omeOtt 60 Vogt y a 
een ee ek tenn Yo aotety..c9 | 
Rms tse eet e+ + eetretton one 43 | 
Bee ne edie A Cdamew 8/20 meeeasy cOe. 0) 
Be As <a nl he Stag ling List) a 
pe wees +e 2 ee eb conCOe 36 nagsedd. Re me 
-~- = + -vicdeV deal tebor doadtetans® .TIV secqeno . i 
me se mw epbothliod s6loooe ‘Sriakames |).4. Ve ane. 
ere ee ee & OmNTiRalsyodA to nesses EN | Pe 
mt ee ele eS oyna lind 26 aessedo bs ‘i 
= se Se SoS me oe ReeeaISy (To nedseso eet 
St + a a + eo + eRe eIGRAD to pkegadd. 28% 
fe Pt See A el eet ee ee ere qilis? to passedd 4 tT , 
eee ee ee ge = = mELive Yo weededd LeN 
“++ == = oleollisi-efiivsepes to ncotadd..e9 
he a me oy em EE to Kaetew), 10 ; 
a “-- ~se--- tinny eee ait to ansbasd , te : 
ee Rioemetie + ~~ ReeAIe al-ebatifewh esto Ss 
uf ae meenesatvety nagas ion ni abniilesh yts ,Se 
= Se Beonivows texedison ci ekciblind vid »d8 “ 
So qmiemeonivoss misishce at egntifons y2to .e3 
ie VI wanes sehen, sasoetiaows usivoe® . TITY ‘sodqond. 
ct iid hve bincd 
+ ~- “=ptbgood Hosa 20 gostqatot Boss % sestcol .8S 
noe Tle Se ele Se OIE CAS: 'ce tigok y Xe 
Pm Hm ance ldentatne’t ct exeoh 682. 
BA wi so 3) ey epacgmg eticng "6® ehoiblise .65) 
Bie =e 2 HP Bopdeormd to coated .8 
men + HH + + OBeOTe OS to excow sonze sre 
Site + - = ~- = » Git b193 90 erastado adeseis> ag Ki 
Dinis = - > - a - = 4 + - eeanod edeving wild .8C.. i 
Pee se ~~ 9 44 eee = minmbaEb Lind ebides .te | ay. 


se a i ORG 
Pee ©, 
(eek a 
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* horse, eondeetenss Ye entoed dows. doypdO .X1 iesgedd,. i. 


“,4.+ + = -peoongnieyeh to eenete atl -B6 o>) ie 
tee es He = bed to sodoisdd Ae)”: | 
- rhe oi ~yheens6% 29 BSdousdo tedtc .38. 

> eal 


sihelbstiainal ated a yuu te wanna: Sie 


65. J. Aw. du Cerceaun- ------l------ ese ns 
66. Philibert de 1’Orme - - - -.- - 
67. De l’Orme’s writings- ----+-+--+--+---+--- a sail 
68. Chateau of Anet -~---------+- ee ee ene 
S29. The Tuileries -------+-+-------2/---- 
70. Ghatean of S. Maur------+--+---+- 2. - - + 
71. Je Bullant- ----+--+--+--+--+-+-+--+--+-+- +s ag 
72. Chateau of Hocouene--- --------+------- 214 
Ghapter VII. Renaissance under last Valois- -------— 219 
B. Remaining secular buildings- -----+---+---- 219 | 
73. Chateau of Ancy-le-Pranc- - ----------+--- 919 
74, Chateau of Vallery- ----------+---- -~ = — 998. j 
75. Chateau of Vernenil -----+-+---------+- 992 
76. Chateau of Charlevali- ----------+-+-+---- 997 
77. Ghateau of Pailly -------+-------+--+-+-+- 930 
78. Chateau of Sully- --+---+-----+--+-+--+-- 934. 
79. Chateau of Angerville-Baillenl- - -------- = 236 
80. Chateau of Maunge -----+----- ee 237 
81. Gardens of the Renaissance- ---------+--- 239. 
82. Gity dwellings in Orleans - ------+-+-+--+- ~ 246 
83. City dwellinss in northern provinces- - ------« 247 
84, Sity buildings in northeast provinces - - - - - = =. 252 
85. Gity dwellings in southern provinces- - - - - = = = 252. 
Chapter VIII. Secular architecture under Henry IV and 
Louis KITI-----+----+--+-+-+-+-+---+-- 257 
88. Further transformation of architecturs- - - - - - « 257 
87. forks on the Louvre -----+-+-+-+-+-+-+--+--- 260 
88. Works in Fontaineblsau- ---------+----- 263. 
39. Buildings for public purposes -----+-----+-- 285 
90. Palace of Laxemburg --------+----+--+--+--- 267 
91. Other works of de Brosse- -----+-+--+---+-+-- 269 
92. P¥ivate chateaus of this time ----+---+--+-- Q271 
93. Gity private houses ---------+-+-+-+- a 
94, Public buiidings- -----+-+--+---- ---- - 278 
Chapter IX. Church architecture of Renaissance period - = 279 
95. Its stages of developments- -------+-+-+-+-- 279 . 
98. Churches at Casn- ----- --- - ee ee ee ee 231 
97. Other churches of Normandy- -------+--+--- . 282 


98. Churches of Paris ------+----+-+--+------ 236 


ng’ v4 


fata ae | spdonago 88 | 
ali Tat clue iy = i boxeemiper eenpred® OL |) 
pe ~ + - = = = eoneat nit teer ond: bt epaonuaD 0k | RA a 
le ~ Pe Nr ee) 0 
me i lel pe tee ee es erence OL 


iT 


Mo te Ry bag ~<- Pi Med a. io EO athe oA oR. 4 eae | sulegedd- . re ny 4 a ‘4 
| -+-  edete isotesslo vinnoved. nh eobotady | ar 


et Ss FE OSes eae ee See Jetosmenx0 BOL, a 
i = cs hoe mae - ” “> = + —ednot Py = 8 at oa 
Josliotitetited ~sp0g8 oe, to aeiutendst $k, o% sed 560 
ie a ee i as ~19S0628H0 Ieseaed, .SOt ied 2 ie i os 
; Pett Sade teary ae ae ee Relvass. Bs, yrapiot .fOr, 3 i Wi 
_, ) :Eodiatiaiiring eaanenode bas etiooenmed sytsies 90k ae cs 
ee eS RR re ei ma 3 i qneniled eh 98. ORE. a 
“+ go#t0 to conetee tet) am 
| | sptevel Yo soneie® “ett a 
j m= me et ee we et eel ors gesomtd, tekh | >. .f ay a 
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348 
99. Churches in Isle de Prance- -------+-.-- Sealine 
100. Churches at Troyes - --~- =| + -s2 - +--+ +e 
101. Churches in the rest of France -----+--+---- 
108. Towers --------- +--+ ---- eee ee 
108. Chapels- ------+----+-+---+--+-+-+-+--+--- - 
104. Churches in severaly classical style 
105. Ornamental works - ----+--+-+-+--+--- -- 
106. Tombs~ <( -lejepe = eee ew we ee ee ee ee 
Chapter X. Art industries of the spoch- --- ------- 
107. General character- -----+--+---+-----+--- 
108. Joinery and carving- ---------------. 
199. Pottery; terre cotta and stoneware ------ a 
110. B. de Palissy- -----+-+--+-+-+-+----+---- 
111. Faience of Offon - ---- - eet eel ae ent em’ net et 
112. Faience of Nevers- -----+-+--+--+--+-+-+-+----- 
118. Limoges enamels- -------+----+----+--+--+--+- 
114. Glass painting ------+-+----+--+--- 
115, Bookbinding- - - - - ong ass ae tpt 


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Raa il aS, yt ae 
. A 7 tf , ej if Pa t , yi bs ad 
re ] y ? ' 4 vy 4 ; 


a: Bera Ming sesrecur ee eae 
trot danigize ed? of s9te7 ntedonn ope? 
Fee ee ew oigtrog seeatlon 142 solitvedéa ie 
Ebr his saplbane welpadty «s cana 
- co a = del dened -—- =e & ~- = Senod etevial .§dik | vil 
; Ra 4 + sale 4 46 BIg + ©) 6 aim GoseUe  ceedoph apts ‘en 
eo = 4+ = = bastend,(aedd/ te exiog) hasek Je | 47 ee 
< ee ee ee = = = tomod Med .fbaek) Poems 8 © i 
Reet tee ee ae wa te opeetetO cemtedad 
+ Sedoas edt to eaned Photon 
em we we hee ee pok-ortney ete20 | ¥ 
~ = ~~ biamel fantixagte dao? (Lexdedted Wee Pah! 
~ - = +‘netetedat bS {he seotado -oneti-o14 yous fe 
ee ee ~ohgos? jehtisel) ok egiabad 
Rm te ee ee 4 oo pend seen 9 
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She ,es9- mee ee ee we ee setters Viond j 
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mee me = 0esIadD Lice ll ted-ef Livsayny 
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oS A aS a a wa wm = = “phdseed 42 oainepas 
ee ee ee ee BE NOT. PodHD A | 
Ue ee ne ee ee ke lind yet +egyad | 
Ce Ft on Se re mn ee woEpod eiewiad: |} (es 
| a ad bsnl rhe 8 0 55 A wa Mo wate Aor ets) ek s0keed 5 iy a 
Rint = 4 eo oy alfete atody :ianbedded \dogh cee 
ame eee eee ea = = = oeetees .yeangd al 
Bt ee Se em + Shataeg  sdomndd .eLemed” 
esis = 4 Seid wim Bebe) 52 ‘vosndd) .abaneen 
Be A A ae ein ein songed at | ah 
He ee apetets vuspbif~nl-vesk 
RR nr et em rhetedS cewettfivotes | 
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| 347 
INDEXES. Localities. 
Page numbers refer to the orisinal text. 


Abbeville. St. Wulfram; portal-------+-+--+--+--+-+-2 335. 
Airs. Balley; ---------------------e 315. 
Albi. Private hous¢ --------+----+--+-+--+-+--+- 205 - 
Almemeches. Church- ---------+-+--+-----+--+-- ~ 357 
S. Amand (Loire et Cher). Ghateau --------+--226 153. 
S. Amand (Nord). Bell tower - ---------2+-+-- 28 = 872. 
Amboise. Chatean= - --° 2 ~°- wee ee ee ee ee + 64. 
Amiens. House of the archer ---------+--+-+--+--+-+- B14. 
Gate Montre-f00 -------+--+--+-+---+--+-- - 414 
Cathedral; Tomb ofgardinal Hemard -------- 385. 
Ancy-Le-Pranc. Chateau 58, 274; intarsias - -------+-- 54 
Andsiys. S. Clotilde, facade- -------+--+----+--- - 354. 
Grest house-------------+------- 181. 
S. Andre. Chureh- ------------+-+-+-+--- = = 365 
Anet. Chateau -- --- ----- =e ge ge ee ee 228,245 ,2e0- 
Intarsias --------f---- fe e- e ee ee ee 54 
Gardenj- ---------- ee ke ee ee eH Ke 303, 306 . 
Chapels -------- eee ee eee He He ee ee 377. 
Angers. Chateau ------------- ----- - = = 153 
Mansion qd’Anjou -----+-------+----+-- 199 
Angesrville-Baillenul. Chateau- - --------+--+----- 298 
Anizy. Chateag----------- eee ee er ee ee ~ 155. 
Areueil. Aqueduct - ------------------- 887.. 
Argentan. 3. Germain- -------+-+------+-+---+- - 397. 
Church towers ------+-+-+-+-+-+-+-+--+--+-- 370 
Arras. City hall- -----------+--+------- 315. 
Private hous@--------+-- +--+ --- eee 343 
Assier. Chateau ------- eee ee ee crete eee 160 
Auch. Cathedral; choir stalls ----------+-+--- 382 
Aussay. Ghateau ------ - eke ke eee em er ee eee - 155 
Aumale. Church; portal- ------+-+--+-+-+-+-+--+-+- SoO- 
Avignon. Church S. Didier --------------- - 382 
Falence- ------ ee eee er eer He te = 400 
Avay-le~Rideauy Ghatesaa—-------------- 14%,148 
Bainvilliers. Ghateawm im <j i ein ee 155 
Bayeux. Cathedral; choir stalls ----------~-- — 893 


S. Patrice; tower -------------- .- = 872 


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Beausency. City halle ------------+--+-+--+- 209, 211 
Besumesnil. Ghateau - ----------- - ee -- == 340 
Beauregard. Chateau -- --+------- - - = ee HHS 149 
Ceiling -----+--+---+--+--+-----++---+-+-- 53 

Garden=- ----------- - e+ - == 304 

Beauvais. S. Etienne; glass paintings - ------- - -491 
Cathedral; portal --------+-+-+--.<---+-- - 383 

Pottery Warss— - -- = eee ee ee ee ee ee 398 

Stoneware ------ ea ow we ee So ee 

Bello. Manef- ------+------- - ee ee ee eee 155 
Belloy. Church- -------+-+-+-+--+-+--+--+-+--+- — -362 
Benehart. Chateau --------+------+--- - = -152 
S. Bertrand de Comminses. Church: choir stalls- - - - - - 332 
Besancon. Palace Granvelle- -----+--+--+-+-+-+-+--+--c: 200 
Biemod-Les-Toul. Church; tomb bishop H. dé Hazard - - - -385 
Blois. Ghateau- ---------+-+----- 46,65, 33,385,389 
BAPAC a ee el el ee 303,306 
Mansion @’Alluye -------+----+-+--+--+---- 198 
q@’Amboise- ---------+-+-++-+--+-=-- 197 

q’Aumale --------+--+----+--+--- 197 

d’chancellerie ------+----+--+--+--- 197 

Denys du Pont- --------+--+-+--+-- 198 

Hurault- --<--------+------ = 197 

Sardini- ---------+-----+-+--- 197 

Private (housés=s2soe << <8 = + = = = = = Se 196 
Holiseldoon=i< «<< 6) 6 ee a Se ee 395 
Boisssy-le-Chatsl. Ghateau- ----------+----=-- 154 
Boulogne. Chatean =< = <= < we eS ow Re ---- 96 
Bourdsilles. (Dordogne). Chateau- - -----+--- - = -163 
Bours. Parish church- --------+-+--"--+-+-+--- 379 
Bourgess -Gathedrabeoei -Fa-asi Se ae, a ee 75 
House of J. Cosum---------------- 58 
Bournagel. Qhateau- ------- - soe ee ee ee eee 164 
Brie-Comte-Robert. Charch ------<-=<--<+<----s-=6 362 
Brou. Church Notre Dame ------------s--- - 
Hauscleam = =°4ie ~ Bo = = - eH eS we = Oe 384 

Glass paintings ------------------ 422 

Bary. }Ghateaai sna; <0 Sy Pied ml a ee eel ee 44,185 


CPT ae at ela ells Men!) oe bed tc a Ginn ee 308 


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Bussy-Rabutin. Chateau- - - - - - a he een! ae Nasi sa ett a 
FRO Se PEOR Ee ime me ee mee an enlace ~—- — - -175,350 
Ss Sawai wm lle ee vet eye ot el el ll oe 359 

House Etienne Duval ------+--+-+-+-+-+-+-+--+- 312 
Mansion Beoville- - - - - -- eee ee - - --- 47,174 

Manor of Gendarmes- --------+-----+-+---- 154 
Private house¢S-----+---+--+-++-+---- = at ot 
Cahors. Private house ------------- ee - = = 204 
Cambray. S. Gery- ------- meter rere er ee ee 382 
Caudebec. S. Marie@- ------ “~---- -- eee Ke -357 
Chalveau. Qhateau ------- -- eee eee eH ee 122,124 
Ghambord. Chateau. ------- + ee ee ee 88,92 
Church- -------- ef -- ee - -~=-- = = -368 
Chanpeaux. Church; choir stalls -----+---+----- - -383 
Chanteloup. (Manche). Chateau - - -------- - = = -155 
Chantilly. Chateau- ------------ eee ee Ke 139 
Chapel ------- see ee ee ee ee - -273 

Garden -~---- 2 -- er tee HK - - - -303,305 

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harentan. S. Maric du Mont; tower- ----------+- 372 
Charenton. Temple of Protestants- -----------=- 336 
Charleval. QOhateau- ---- --- eee eee ee ee - ~286 
Garden ----- ee te tere em ee ee -304 

Chartres. Cathedral; choir enclosure- ~--------7s 381 
Mansion Montescot (city hall) ----- - += = 

Private hous€e - --- = w~ ee ee ee eee 3138 

Church S. Peter --------- eee ee ee 418 

Enamel portraits of apostles - -418 

S. Hilsire; glass paintings --------- -419 
Chateaudan.) Ghatesa~ - - = pS Ss st SSS SS 144 
Chatean des.ffs...Cbatess—~ << = > aS SS ae 7344 
Chateau-Thierry. S. Grepin; choir stalls- -~------&= 384 
Ghaunont.. Chateags 2.5 sso = a SS SS a 61 
Chenoncean. .Ghatesair = = a5 a a. Sh 7S tie So 133 
COLIinS im. Se aS Se ee eee - 58 

Garden- -----------+---- ce 305,307 
Clermont-Ferrand. Fountain Delille- ----------- 217 
Faienc€ --------f ese er eee 400 


Gompeigne..S. Antoine; portal ----------- - - ~383 


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S. Jacques; portal - ------+-+-+-+- - - -333 
City hall- ------------------ 63 
Conds. Chateau- ------- ee eee ee ee eee ee 154. 
Coutances. S$. Pierre- ~----------- —--- - -357 
Coucy. Chateau- - ------ eee ee eee ee = - = ~246 
Dampierre., Chateau garden ------+--+----- 303, 305, 306 
S. Denis. Church; choir stalls from Gaillon - ----+--- 72 
Tomb of Lowis KIT ----------- 336 
Tomb of Francis T-----+--+----- 246 
fomb of Catherine de Medici - - - ~ - -391 
Dieppe. S. Remy ------- et ee ee eee ee ee 357,381 
Se JacqueS- ---------k- ke eg eee ee ee Sor 
Dijon. Library, Miniatures in Virsil- -----+-----=-+ Q 
S. Michel; towers- ------------+----+ 369 
Mansion de Vogue --------------- - -342 
Private house- -------- eee ee ee ee 199 
Douai. City hall- ----- - ee - ee ee wm ne ee eK ee 83 
Mascum; Tomb of Charles de Lalaing -------+- 336 
Dreux. Gity hall- ---- ------ ee ee ee ee Me 63 
Du Pailly. Chateeu- ----------------- -— -239 
Bcoucn. Chateau - ----- Rae Rg mgm ae he 228,254, 267,399 
Glass paintings ------+---<-+--- 7419, 420 
Glbocuf. S. Etienne; slass paintincs- --------- -422 
S. Jean; glass paintings ---------+-+-- 422 
Bpernay. Notre Dame;. portal —~-- —-----==- 9 = =e 366 
Etrepilly.! Church “jie eee RR ee a ee 362 
Evreux. Cathedral; facade -<-.- ---- - + - — = - =e 356 
Chapel snelosurs ----------- 381 
Fecamp. Church; chapel enclosure- ------+--- .- = =380 
Chatoan; des Tis - = - mew ie ee mm ee 341 
Fere-en-Tardenois. Ghateau- --------- ~- - -156 
S. Florentin. (Burgundy). Ghurch- ------------= 367 
Fotenbray.) Giateaan pe ee rie 127,246 
Fontainebleau. Ghateau- - --- - 190, 102,103, 106,107,113, 829 
Gelling-<--—-- ee ee ee 53 
Capital- ----------- ‘"- eee = 53 
Ballroom ------------- - - - -109 
Gallery of stag-----+--+------- 331 


Fontains-Etoupefour. Chateau- -------------- 455 


“i ; 435 
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fontaine-Henris Ghatear---- - - ~ eee ee ee ee ~154 
Fougeres. Chateau. -— =< - = -—-— <= =e wee ee eee ee 62 
Frankfort on Main. Miniatures with H. &. By - c= 9,41518,18 
Gaillon. Chateau- --------<+-=+- ~ — =--— 69,72,75,224 
Garden +--+ - =~ +s + = = = 802, 208, Oa raee 

S. Germain-an-Lays. Chateaa ----+-+---+--- ~116,118,119 
S. Gervais. Church- ------=-- “1-5 -- - - -362 
Gisors. Cathedral; Organ gallery- --- - - -~-- ee ee 382 
Facade ----*+---+--+-+---+--- = -3§3 

Class paintings- ------+- -— = +422 

Goupillieres. Church} choir stallis--- -------<-=- 383 
Gouss@inville. Church ---------------+ 6 362 
Huleux.. Manor - - = - i+ == ei me ee ae ee 156 
Ivry-ia-Bataille. Chateau ------- --e-e eee ee ~155 
BSL eA Depress OR a hee fre tite ee te ee - - ~362 
Joinville, Private houses ---------=-+= -=- = =200 
ba: Porte-Milon.. fotre Danes oe ee OE 
ba Muette. Chateau- -----+-----+-+- ,~7 = - -120,121, 246 
Gandifer. Chateau - -~--<---+ +--+ ++ -+<== SS eee 152 
haon. Cathsdral; chapel enclosure ------ ---- — -382 
ba Rochefoucald.: Chatesn- - --~+-- ~~~ ok - 51,159 
ba Rochelle. City hall- ----<-<+<-+-+--= -~--- - -344 
Lasson., Chateau == - he eS ee ee 154 
S$, Leger.) Chateau — = Sei Se = ee ee eee 246 
be Mans. Gathedral- -----------------5 ~ 32 
Private house~ — — <= ee ee 199 

be’ Verget.” Ghateau~ =) =< - -  e e e ~137 
Gilbe.: Bowmmse sy ye: Cee aR ee tee Mes tet a een -317 
Limoges. Limosin enamels- ---------=---== 411, 413 
hinour. Chateau -- - = = = oe ee ee ee 246 
London. Miniatures wity Lady Springle ---------= 9 
Kensingstén museum; enameled mug - - ----- == 413 

Vongni. Soothe: Dame de. Pitie:-~ — <-> ~~ = Skee 357 
Erte, ! Ce Ge Bea a eh eh me ph ed a mr ie ee -152 
finxenil. Private noses = 4) } See ee ee ee 200 
bagarches. S. Damian- --------------- ee 362 
byons. Gity hall- -----------+- +--+ -346 
S. Nigier; pottal------+------- 244,245,377 


Mafetdeors, Game alia < eh e 7a ne ee me i ee ee 362 


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Magny. Notre Dame ---------+--- ------ ~ -862 
Baptismal fountain ------+--+---+--+-- ++ -339 
Maisnelay. Church ------- a 385 
Mantes. Fountains ------------- -- - = -215, 217 
Marchais. Chateau --------------+--+--+--+- 156 
Martainville. Chateau ------- ~—-- -- - ee - - 62 
Maans. Chateau- - ------------ - ee ee ee -300. 
S. Maur. Chateau- ------- = - - ee eee -~ ~245,262 
Meillani, Chateau ------- - eer eee eee -~--- 60 
Melun. S. Aspais- --- - meee ee ee ee ee eee - -381 
Mesnierse. Caateau- ------------------ = 153 
Mesnil-Aubry. Chureh- ------ -~-e-e ee ee ee - -362 
Monfort i’Amaury. (Seine st Oise). Church; slass- - - - - A214 
Montal. Chateaa ------------- - He ee ee - -162 
Montergis. Church ---------+-+--------- ~235 
Chateau garden ----+-+-+------ 302,304,306 
Monterau-Paulij-Yonne. Church- ----+--------+--- -361 
Montjavoult. Church ---+---+-----+--+---+--+---- - -361 
Montmorency. S. Martin; glass paintings ----- -- - -421 
S. Michel sur Orge ----------+-- — -431 
Mortasgne. Church- -----------+--+-+---- ~ - -357 
Mosne, see Maune. 
Moulins. Chateau- ---------+--- -~-- e+e -- 152 
Munich. Court Library; miniatures in Boccacio - - - =< = 9,11 
Nancy. Franciscan church; tomb of duke Renee I- -.- - = = 334 
Huval, pabace®: oR ee ee el ee To 
Nantes. Cathedral; Tomb Francis II- -------+---=- 81 
Nantonibiet:Chateas~ - - - ~ ee si Se ea ~129,131 
Steps- ---------- “scree ee 53,132 
Narbonne, Houses of murses- ---------=-<-<-«+ - -320 
Cathedral; temb ------- rere eee - 388 
Nevers. Pucalnohateaay-'-) pats) Si" ere ee ee -153 
PORGRCR So) 0. pre rm fe ee yee mtd ae 499,410 
Museum; vases - -~--<- 4 - ee ee ee = -410 
Noyons | Gityi belie ets i eine eS + ee 63 
Nuremberg. Service by P. Reymond in Tucher family - - - -417 
Qiron. Chatean- - - ---------- ee oe Se -+ =. 
Chapel; floor tiles- ------------ - - -400 
Baleares let i ee hii tek or ay et eee 406 


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ss sino + etebdtod To eneig to easck a 


mame = > aoeoghIAth peel to seeok a 
[1 eet nm = ebOOTSO WE to seach |. wee 

He ae ity ee eae me RORBER Ofer 95 ei 
ete ee = + o boon Yo sound egavin? ~:) 1 ir 


$+ ea - ~ecaidae to. enanod edaviss 

~ s20ksd Bae ersliee 40. peanos etavisd 

Ra ee re ee ee ine, DOOD: 6 CLESO 
a, «44 Mel ea ape etavins fubnoti-ef-youed 

. | r eauteioig ,fieeiv .endgecol ,yrewil fasciseh .aised 

ic ~ ~eetooon ef vellivey soged cite abahisna: 

-- TA Rah = mnt > apsnoy pb snagits 

~— ie! - hg Mac dle -pheoet ; 

ea ae « nbdikickig geeld | 
’ wee eee eH m= tifoatee® «eo 

“a Pee ee ~ ~~ Daetetes exalt 

spe '- - - + ~ s$ekousexes*l aiented .2 

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Qit- ~ +--+ -- - <Ruhisicg epald, 

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~~ - =~ + - = wbatinteg aaxels ;brabel 
-~~-- =~ = segnidateg eaetd .ette)l 

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-o = ---- Evy: ~ = == = dosmdo. stiforis) . 

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Oricans. City hall------+---- ~-- -- - = = — $205 
Pavilion of Joan of Arc- ---------- ~-819 

House of Agnes Sorel -------------= 181 

ouse of francis IT ------+-+-+-+-+----- 185 

House of Biana of Poitiers -------+--- - ~-308 

House of Jean a’Alibert- ---------+--- 309 

House of du Cereceau- -----+-------- - ~310 

Private houses -------+-+-+------- 308,310 
Privateshouses of.wood =‘ --------2ne 188 

Private houses of ashiars- ---------- =-191 

Private houses of ashlars and bricks - - - - - -194 

Othis. Ghurch ------ eet er treet er eet -361 
Paray-le-Monial. Private house- --------+--+-- -198 
Paris. National library; Josephus, Virsil, miniatures -- 9 
Miniatures with Baron Feuillet de qonches- - - - - eS) 

S. Btienne du Monts------------- -~ - -358 

Facade- ---------- 3605377 

Glass painting-.- - - - = -419,421 

S. Bustachs; ---- rt rf tee te ee 2 eS eee 360 

Glass painting ---------+--- 421 

S. Germain L’Auxerrois;- -----+rr+rs7 ee 57, 226 

Glass painting- --- - - —421 

S. Gervaisi~-.- mothe eS em tcl 57,377 

Pacade@- --------- - - He ee -387 

Glass painting- -----+7-7 > 419,420,421 

S.-dJacques de.la boucherie;.tower- - - - - - =733e 57° 

S. bouie- and $..Paul -.- - <7 +--+ rer 7+ + = ee 378 

S.. Medard: glass paintings ----rrctrre 57,421 

S, Merry; Slass paintings- --------- - 57,421 

S. Severin; glass paintings- -----+1-+-+-°- 57,421 
Carmelite charch ------+r-*-- er > =Se 378 

Church of Sorbonne; dome ------ tor coe 379 

tomb of Richelieu- ------ 3g1 

Monastery Val de Grace; dome -—- -.-'=)-\- - + +e 379 

Bouvre----rr rrr rt er ert ete ee 229,325 

Stairs to: gallery of paintings- ------ 56 

Museum; marble relief from Saikionsis — -72,77 

Relief from S. Germain 1’Auxer. - -226 


353 


- Omer. Cathedral; Tomb 8. de balaing- ----=-- - - - -385 


Tomb of bishop Bustache de Groy- - - - - - - - -385 


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fnanels from Limousin - - ----- 4138 
Floor tiles ----+---+---+-+--+- 390 
Hunting jug ----+--+-+-+---+- 398 
Glass paintings by Gousin - - - - - 420 
Gallery of Apollo; Shield of 1555 ----- A183 


Spoon by P. Reymond- - -416 
Portrait of Montmorenty-418 


Tuileries- - ------------- - -245, 257,325 

School of Fine Arts; portal from Gaillon - - - - - 75 
frasment from Anete- - - - - + 208 

Collection Basilewsky;: bimosin enamel- ~- - - - - - 416 
Collection J. Rothschild; enamel dish- - ---- - 413 
Collection A. Rothschild; enamel triptych- - - - - 418 
Aqueduct of Arcucil- --------------- 337 
Fountain of Innocents- ---------- 217 , 226, 228 

House Prancis I---------+--+------- - -202 
Mansion of Cluny ------+-+-+-+-+--- 59,394,399 
ManSion of Sully ----------+----- te a ~343 
Mansion de la Tremoille- -----+--+-+--+-+--+--- 59 
Palace of justice; hall- ---------+--- 66, 337 

Palecs Luxemburg -----+-+-+---+-+-+-+-+-+-- 334 

Palace Royal ------------------- 344 

Place Dauphine << =" -e-) - - — = ee 333 

Place de FPrancé- ----+-+--+-+--- + -- -- - 333 

Place Roysle ------------- == === 332 

Pont Nenf- ---------- ee eee eH Hee 338 

Pont: Notre Bama Sai) et = 66 
Chateau Madrid -----+-------+------ 96,246 

City nall- -------- - ee ee eer ee eee 210 
Plesgis-Piaeys GRarein ee ae es ie 382 
Pont-Andemer. Chutch- ----------------- = 357 
Pontoise. 5. 'wacior ——- = = x ide toate Hse Mae dae a .~ ~-362 
S. Quentin. City hall ---------------+---- 63 
Ravenel (Isle de France). Church- - - - - ----- eee 892 
Rheims. S. Jacques; chapel- -------+------+-=-- 373 
S. Remy; choir enclosure- -------+---+--- 381 

CEE TT ee ee ee me Ad el 346 

House Feret de Montlaurent- --------- = -315 

Private house << = <= oe Se ee a = 199 


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Rocher de Mesanger. Ghateau --------+-----+-- 152 
Rodez. Notre Dame; chapel enclosure - - --------- 320 
Rouen. Gathedral- ------+---+--- -~ - - = -57,75,227 
Tomb ‘Athokees-u+icv~ ay—eliste ss eee mia 
Tomb Louis de Breze- -------- =- =-338 
Glass paintings- -------+--- ~ ~422 
S. Maclou- - ----------+------- 57, 283 
Stairs -------+-+-+-+-+-+-++--+- 832 
Doors---------- eee ee - = -383 
S. Romaine- ---------+----- = - + - = = = -376 
S. Vincent; slass paintings- -----+------ Epp) 
S. Patrice; glass paintings- -------+---- -422 
S. Godard; glass paintings ------+------- 429 
Abbey S$. Amand --------+---+--+---+----+-+- 180 
Archbishop’s palace- ------+--------+- 75 
Palace of justice- ---------------- 72 
Mansion Bourstkeroulde -----+--+-+--+-- 73,181 
Hause on cathedral Place -----+---+-+--+---- 79 
Private houses ------------ 179,180,318, 348 
Mamsion’ de Than]-:- --' +--+ - + - ee Se ee 181 
Sansac. Chateau -------- weer ee he Hee er ee ee 152 
Sargelles. Chureha= - -— =F w+ << © oo ee ee 862 
Sarcus. Ghateaay=\ <i <3 ime we ew we tw = 155 
Saumur. City hall --------- - ee eee ee ee 63 
Savignies. Pottery- ------- ee ge ee ee er er ee 398 
Stoneware- ---------- - he ee ee ee 401 
Sedieres.: Chateas imc te eli or i oe i oe 153 
Sens. Cathedrel; glass paintings- ------+-+-+-+-- ~A29 
Archbishop’s palace -------------- 49.172 
Serrant.° Chateansi--- - - ec ee ee = ee 153 
Sevres. Museum; floor tiles ---------+---- - -399 
Sully.;Ghateat—i—1- - -*- = = + -~ ee ee ee he SSS S204 
fanlay., Ghateau -.- - - et te te ee ee ee ee 
Mepascon. Chateau ----- - ee eer rr rr rr rr HO 
Gathedral; tomb --------- co me 
Tillieres. Church ------ ---- ee -- - - = - — $356 
Stairs -- - eet ce er tr er em rm re eH HH 
Tilloloy.: Ghurch; facade- -— - -.- cer ere er tm er ee ee 365 


Toul. Gathedral; Chapel S. Ursula ------------ 876 


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"eee eee alee eo + seted® syred fs) gee 
~ «es ~+ “= = = ae - nabeng kis . 
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ste a let “== 4 oe Shetek? esiltvepaucay, 
st Sin A ee wo Ree wRetatD saber 
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_ see unite ~ hy i ‘pnw L saad 


356 


Toulouse. Church Dalbade; portal- ---------- - ~366 
S$. Sepnin -----------+---+------ 266 

S. Pierre; choir stalls -----+--+----- - -333 

Jesuit collége-j—- sr co te ce = - ~ Gd 

Mansion d’Assezat -----+-+---- - = = =e 

Mansion Catelan -------- ee -319 

Mansion Meynier - -------------ee 

House of stone- --------+--+---+-+-+--+- 319 

Palace of Qapitol ------ -------- -318 
Tourlaville. Chateau-~ -------------+-=s -155 
Tours. Library; Livy, miniatures- ------------ 9 
Cathedral; Tomb- ----------------- 81 

ROMOD Ss 0h eee .T7 + > 7 ee 369 

Private houses ------+-+-+-+-+-+-+-+--+-+-6- 200 
Fountains- ------------- - ee ee ee 215 
freport..Cherch: portelye oe te = oir ie = & = eee - -852 
Trisl.(Seine et Oise). (District Versailles). - - - - = -420 
Church; slass paintings- ------+---- ~420, 421 
Proves. qathedtalye si se bo ee + 7 ree 57 
Se dA eH Spc cot RSs SS = See 364 

S. Nicolas- -----+--+-+-+-+-+-+-+-+-- - — -883 

Pulpit -------+-------- 334 

S. Nizgier --------------- cs - - - 364 

S. Pantalson- -------+---+--+---+---- 368 

S. Remy -- --- eer er er cr er rere ee --- -364 

Vansion ds Valuisant- ----------+---- 315 

Private house --- cco rt ee ee ee He ee 200 

Usse. Chateau - ---- - mk ek terre rr cco oe Ow eS 151 
Usson. Ghateau- - -s- eer rer rt err coe ee 157 ,158 
Valencay. Ghateag - ---- ce et er ere eee ee SS 153 
Valence. -Private house- = - = -i- - *\- + + = > >is ee 205 
Vaklery.: G@hatest-\- - oe tie Se See S es SS 224,277 
Garden <4 2S isicer Se eer ere wr er ee HS 303 

Valmont. Abbeys eharch =< -— «(re ea = os -~- tree eee 356 
Varengevilles: Ghatesaesy> -—- 5 er ries ‘oc 5° > 7 138 
Verneuil. Chateau - 2 - r sir ere cp eS eS 2 le 278 
Garden=- - - === se ees ae ee ee de tae 804,305 
Versailles. Museum; Tomb of duke of Rohan - - - - - - - ~-391 
ebbnil..,Charch; facade -.-'-3-.- 2 t= tee ee 353 


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Villers-Cotterets. Ghatean- - 
Garden . : 
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oo ‘Wkneannes. 2@hateanss Hira ce ye ee ie oe --- 


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Chapel; glass paintings- - - - - 
Viviers. House of chevaliers- ------- - ~-- 
Wideville. Chateau- ---------------- 
Vienna, Enamel dish with prince Sfechtenstein 


4 


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| ipeataeeeeaeeeeeer cbaate 
86 ~ BO ee me ee eS ED d36 58 

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-.-- SO SR HH + om ee Swe pied Yodbae 
- | Pee te ee one ks | eee dnoe 
Pe a A A BB eee oeiOe 


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=-- Ao + fs = = Ob esesoat pegense 
ee. ~ ne ea Sia ok ~~ “HSOL .38n078 
ee me ee em oh pom tas ,eeeord 

6 880, WES DBS St) 88 ee Se am ee ioe 
“ee Sa Ne wee Ho nk ws Sosg Herne .Asitigd 


dl teltieliedh aaL ewe + 8 ergets teriduary 
OT Oe me ae ie SETTLERS” anh eae 
Bae NA sei od kere ae tems 4 ~ #iesost® (telomeres 

Bry its et Sl ne vel oe ~~ > <peeh naliosasdd 
pe nw ee Oke cade Bus cede? sespekd, 

te nee ee eee Se ay = +isdoiu, .danled. 

FR ee ee 8 “redtox8 {Bhs7b0d 
a a ere ne ertelt ~weibensod 
Si ~ ee me ey — BBD PS RE y 
3,87,.5' -* - -- - ed big ~~ - om Siedinedoly cadino fined 
| et ella ed atte: Va et lo 299900, 


a ie ae He mS mS See loodt ,teifedses: 


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308 
Index to names of artists. 


Pase numbers refer to original text. Page 

Abaquesne, Masseot— i" lm me ae eee -399 
Abbate, Niccolo dell? - --+4-+-+-+-+----+---+- 405120 
Agasse, Gilles- ------ wae oe bree tr) ~-- - «)-iee 
Asselin, Jehen- -------- ee ee ee ee ee eee 210 
Bachelisz, Nicolas- ----------------- 367, 380 
BASNACAV ALLO mm mm em em a a el at al ~116 
Baril, Jehan- --- ------f=- tee ee ee ee ee 301 
Bartolommeo da Miniato- --------+-+-+-+-+---- —=-115 
Bellin, Nicolas ---------------- ee ee 115 
Bernard, Salemon=- ------- fff -----= 20, 24, 25 
Barvart, dghane ie Se a ae i eee ~=-- =— -406 
Biard, Pierre -- - + =~ <= - <--> -- - - >= =e 212 
Bhart CORR i) i ee el er a oe 69,76 
Boccador, Domenico << - = = = — -.- = - = =e 210,227 
Boghen, bowie van <4 - 9 — 403 Se ee - -370 
Bohtemps, Plerre- 9 - =) = = i ee - -390 
Bony, Jean d@°= =< ~- 9 9 @ 9 39 = eee - 76 
Boadin, Te - a ir 381 
Breton, Gilles le - - - = <= > 3s) > — 74 ee 115 
Betot, Brancois << - -- - -3 390-32 eee 409 
Broeuca, Jacques du<- - ~~~ -- = - = -i- - - - -385 
Brogse,. Jean- - = = - > = So = =e 279 
Broese, Salomon. CG mm a a ae rs 334,388,377 
Bullent, Jean ------- - - - 56,156, 254,257, 282, 264, 362 
Gellini, BenvenutO- << - ~-—s- 35 3 = = 40,116, 250 
‘Chambigss, Pierrs Sfw--- - ee ere crete 117,121,123 
Ghambiges, Pierre JP. ------ - tr terete 230, 231 
Champaigne, Philippe- ------------ Terre ee O20 
Charpentier, Francoig < <<) <9-7 4 = > 2 ==>) 2 Se 406 
Chastellan,!/Jeae- = 2m en te ee - - eee 115 
Clouet, father and sOn~ (mi <1 eo a ee 40 
Columb, Michel- - - - - - eat lalliadlin 72,76,31, 215 
Conrade, Brother or) — Bi iS fe ee 409 
Cornedieu, Pierre 9 )-e ot e 77 
Gosaart, [dean <i = Se a si ee ee 358 
Coulombe, Wichaskt- < <---> ~=—- - = 72,76,81,215 


Court, Jean (0 sy ele om i ee ee 418 


Se ee ee em 
me a eee ee 
a ie are | 
ee SS a ee ae ee te 
OCi+ ~ = - ote -~ sem 2 ee ea a 
< ~ pe - a a es ~ wig 
eS hs ahead tall al wd Hee em ee 
2 ee ee et ee ee ar ee eee e 
ire: Ponca ie te orenod va 
i a we Ae a oh Liem ee ale | 
ens 2 8: Se i Be ere ~shscdoks | eoaloriad . 
MuRde OSS S80. 00l~: +’) « ~ trio + eteedtlind sete lag 
ES ES a rae Ram meee exser? lamtgted 
lie Aa a a += + pkoones® \bnatssd. | 

Stet fr a at a ele ee mabe tet!) eegees 

RR A He tn ele oo Phen pedal 

OE TA ee ee ee em le ED qeioded, 

Rape Re Ra ewe meted wpeebaeD at |’ 

b. 90S, Sea, dee tes ces 688, 2 pi i +4 4G, pagoaeg bg 

ee home we Sm 6Tk papa pease at, 

ll a a a a ae hei e2898780 BO 
See eee eae eS  oona tag  obROgRG 
Pee me et ee oT ~S199e9; | ote 
a a= Ree Tr eins +4 =e ee 
Blame Po eer & — RON eee 

eee Me ee ee nie 2 He eo tsa 
ie we ele ee ee ee ~ H8ok (Jeupro® 

ee Te LP OR ee oe oe ol oe ETE G i BRO eA 

Be a ee ee Heiter®: ,gtoonss® 

PTT A i ae eo ee etpel: seigonsat 

Te i te le ee on at seae ce toonest 

Te Po Ot ee tidile Bie ai lei o) 4 ctenkteed 

chi eee ee 

ee Ree 1 or Te ee eee eee aided .vetiad 

St) OE ie Ee ee eae, | Saker ae 

mae et eee ee BS cee ki gia chisbaat 

Ltn eee ~aivouar?  .dacuee 

ik ee ee ee ge ee om roeeen nisvued 

Sa TRS Ee eS en Me Him + 288 (obposede 

aed oe Sa eer UR LP ae ds ‘ 

ee ee ~eneieR \sekiincd: 

SR A Sie ait aS eae eebaed. deteened: 

[apy ea. ees Ne yi 

ane aay oye ulate FE 
beak a P rv ‘ A i nL D ea) A ‘dic my 2 
Bat athe WE | ik i tl 


Court, Susanne de - ---- meee ee fe ee ee -413 
Gourtois, Pierte----------+--=+-- ~- -100,416,418 
Courtois, J@an----------- ee ke eg ee - - -416,418 
Courtois, Martial ----------+2f2f------ ~ -418 
Courtois, Antoine --------=----+-+----- - 418 
Cousin, Jehan ------------ * 26,27, 28, 2285278, 420 
Davids oer rw rt te er rr rr re ee /=— =360 
Delaplace, Richard= -------------- ee -~ - 77 
Delorme, Philibert- --------- 100, 227, 280, 248, 2575888 
Delorns, Pierre.<.- 50> - 2 Dee Se ws 42,58,71,%75 
Derrand, Francois ----"--- 7-7 --- 7 e+ --=s -373 
Destre, Julien- ------------------+- - -317 
Duban, Pelix- ------+------------ - ee 68,38 
Dubois, Jehan -- -------------------- 77 
Da Cerceau, Baptiste- - ----------+- +--+ 242,328 
Du Qerceau, J. A., 112, 4,855, 080, 231, 295, 257, 272, 278, 284, 236 
Du Cerceau, Jacquss ‘JP, ete ee ee ee SS 243,328 
ba. Gerceag, d@an= <-> Ss ae ~ -248 
Duperac, Et$enne— es ee -~-- - -351 
Bsin, Pierre- << - - = - 7-5 => 22> See 74,75 
Paleige,-.-3-.- ss ott tt 2S See 333 
Bine, Oronce<. = = <= Se 8 ee 19,20, 21,28 
Fontaine=.<(- <j ee es ee ee -329 
Fonguet, Jean) - <---> =n > SSS 9,40 
Francois, Bastien. ~ - > - = 3 -— => 22s 3 S eee 215 
Francois, Gratien ------------ ~~ s)he ee 100 
Brandeis, ..deaa-— <r <=) 2 = os ss tS SS 100 
Reancois, Martine = ys sm sor aS bt 215 
Freminet- ------- cert cr cc ter rrr rrr 882 
Gadier, Pierré-\- - - - ewe et ee ee ee rt Se 100 
Galton, Robie cet ei teh ye ee a ee 209 
Geib lard ) (Pi ah ied en salle ois Mare pati pee ae ee 8G 
Sancallo, Gisbiawe Ga) cele iim ie Me ee ee 64 
Gannat, Franoeis- - = -'-)-0s)- 3 SS ss = ee 285 
Gauvain, MSRSGY— <on st Sosa es a aoe 72 
GR Crh Gs ge es mes a Sra i aa a 4,66,74 
Godinet: <i == So ee a ee 172 
Gonffier, Helené-|- -->--> = - elfen tle er cbr se gr - 406 
Gouffien, Claude << mR ee ee ee £08 , 389 


~~ in ey we ae 
ete | Fw eae 
awe meee 
85 .688- = -_-- 
an x pt pecan, 


iin ¢ - waee ia eke 
ba pera “+. 
ee 
| alleles Me ed 
= -— — « - 
ll Me ed 


em 


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4 L 

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A Aehs Wliyt Bene) be Ot ‘te 
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y Pe De i 4 ee aay 
F ats’ uey + : » 
wi ud Met ly oe *¢ i ) sbi 


Wid ee ns 5 


_— =_— 
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=_-_ 


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ad 


— 
baal 


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a 


~-= = - 
$e. +! & - «Oytsts: saloliied 
+ +) omer iL Ea9 wnieiiive 


= = + -06 oteleh \teenasd. 


“> + + -eenpoal ,equyft 


mm ugh bisenell .ysot 
Ce ee —Snkotns stent 


~~ me mm neot. eteah: 


: 
i 


*-- nedeG  .eiolgaad 


~- + -CoRscane® PESTOGd | 
~<- ++ gellid goers 20 


~~ —sesposh .dotesd od 
+ - sbanellind . nogend ad 


o— = = ~BelsadO yaubt od. 


~-- + = sistas? jonbed 
~*~ -donpoal  .wekotemed 
- + © + enzold. ssioiessd 
+ + © wie oe aoe ad 


SS eo ++ eames? ageed 


~ +. = = aslooly .d09 sc 
ot + + + = sageb 209 ed 
“~~ woglel® .cagesdd ef 
énatpenbad. ,coahay. ef 
ory - = osDb (aonted Oo 
+te-obuaaloody .eonie9 8a 


- ~~ etoalitoo® .xeo8 ad 
SyCES OSS 28S NSs., ae BE Bw - = + eouneke Footed 


= “edonden® (1ae8 3d 
oP a ee ee oe me DEVS 


~ = we9E baenced .oizer td 


~\* path bueotod ,eteontd 
Bp ah e ~ ase, aheonid 


mit me dgsaoh, , woieontd |. 


; r .” 
t+), alle re i) j 
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ry 
Ms 
~ <= « isch) ob chusaetd 
~teee 88 hasote waite 


Leah) We en ere et 
" Les) OS nah oh sl, ai 


Goujon, Jean- - ---- —--- +--+ 225 , 2269227 , 2844272, 3388 
GRAV BEM, LER rene eee orate le te ten tin ea ete 353,362 
Grappin, Robert ---------+--+------- +--+ -- 353 
Grassot, Tassin ------------- eee ee ee ~420 
Guerpe, Richart - - ----------+---+-----e re 
Guillain, Pierre- -----+---------------- 212 
Guillain, Guillaume ------+-+--+-+---++---+-+84 117 
Hangest, Helene d@---------+ +--+ -- = — + = ~40§ 
Hympe, Jacqueés- --------s-+---------- - ~420 
cuy, Mansard de-------------+--- e+e ee ee 361 
Juste, Antoine- -------+-+-+--+-+-+-+-+-+-+-+--+-+-77 
Juste, Jean ----------- mercer ee ee ee 81,386 
banslois, Jehan --------+---+----+--+- +--+ +--+ - 117 
baurana, FPrancescO- --------+--+-++-++e+-+-+-+-+--. 30 
be Breton, Gilles ------+---+-+--+-+-+-+-+-+--- 115 
be Breton, Jacones-------+--5+----------=-- 125 
be Breton, Guillaumé---------+-+-+-+- -=--- = -125 
be Brun, Charles- -----------+-+-+-+-----+--6 325 
Leduc, Gabriel- -------+---+--+-+-+------ 378 
Lemercier, JacqueS-------+-----+-+- 828,332, 343,379 
Lemercier, Pierre -------<+--+-+---+++-+-+-- - +362 
be Gasconj- - - - - ee oe ee ee ee 
Lbemuet, Plerre------- eee ee ee ee ee ee ee 379 
be Pot, Nicolas ------ ef eer ee ere ee ew 652273, 419 
be: Pot, Jeanei-i= - Se RK ee eS ee ee 419 
beiPrestre, Blaise- --<-- << + — = = wi = = o = ee 175 
be Prince, Bnguerrand ---------+--+--------- 419 
be. Prince, Jeans 4 ee ee ee ee ee ee 419 
Le Prince, Wicolase------ --------------- -419 
feiRoux, Routilant=- - --- - =< = = — es 4 6S aoe 79,81 

Lescot, Pisrra- - - - -34,56, 225, 227,223, 229, 230,231}232, 267 
beSueut, Rustache- = = “= <= = = =< = es = 2 6 See 325 
bevaa aor ee tise ee eR ee ee ee Re eS Se 329 
bimosin, feonard Ste- -------- ee eee 414,417,418 
Gimosin, Geonard:Jt,- = <= 4 =~ ee ee 418 
Limosin, Jean- - - ver = ee ee ee ee eee eK ee 418 
bimosin, Josephe- ----s<«=-s-+<«s+<s=s+=sss6 418 
Lionardo da Vinci - ---------- a ae a a re 39,377 


GondassrSigardide: ~<a ie ee ee ee ee 163 


en ee 


Se a ~—_— = = -_— © 
a ~ — 


288,089, Bir Ort Orr, 004, bb 


i Ie lladie I dteltal ideals bs 
or 


-_———_— ee 


a ne ae ee ee a! 


et i neta Mil a ed 


eh ai 


y 3) 
~ oe — - ot 


~~ 


oT ,daseton 
(Ok. .& * Loaves 


aie «= +e 
ed -of ou 


etigon) seul bauck 
me oD 
«9  yeerie®g 
+ ~- > 0 Baga 
~.t .,Sseofgesc 
6) att ate 


cor - 


“4 Aw mn ee 
~S oe geg* 
Coa flW ab ovtears 
Feta i the 


a | 


~~ =~.8 ,Soltatenis 
~ot -, Salesian ks 
- ~e) te lshiectS 
=> a .olgenod 
allied sblooks atisd 
-~=—- = = [oatyax 


F 


<'= + <9 /baonyod 


-sileé 
-~ ~ #8 :, [otenoog 
=e a= = » 68868 
-aneH of Joslinod 
+'~ (aecear) x00 
~ += 4 + +asdea 


a ~ 4% jasdoke ged, 


2b 68 ,ofteyaed | 
wt) eal ROR, 


Z \ deuubier 


one itn£y 
sekoncy - 
- ee aN OE 
one tgo’ 
~—< -+.9 .neveek 


~eotenoeys | 


: 361 


i*Grndy, “Pivden Sa ae + -100, 227,230,243, 257, 388 
Lyssorsues, G----- s+ - 2 ee eer he ee Me MW Me KH He 164 
MARSADG, Fee ee nel a ee a ne ee ae ae ee 379 
Mansard de douy «= — = <= + Se Se ee ee ee 361 
MEBESTE SEe0ers we eS ae ee ee ee ee ee 88,95 
Mansay 5 0G, — SSP al Se ee ee 72 
Metezan, L. -------------- ee ee eee 231,328 
Metezau, T. ----- (mee ee ee ee ee ee eee 231,323 
Neynal, Becdei= = — =< <= = ee we ee ee Se ee 76 
WSdtatop Ber dan t= so ee ee ee ee ee 115 
Monoier, Go-----+---=- eee ee meer er er ee eee 338 
Moreau- -----+ <5 25-7 =e eee ee ee ee er KK SS 361 
WERE Seay i Ey Le ae a ae ee ae 77 
NOD Y Bip p Pee eG te sa i a Tl ea) et a 95 
Nouailher (Noylier), Nw ----------------- 418 
Pacherot) :G.s'siet= +) eS ee ee ee 76 
Palissy, B. de- + <= = = = ae ee 228,401 
Pape, Me) Doe i Sik ee ae a a ee 418 
Penicaud, J.- - ---- - ee er ee rte eee eee 412 
Pereier’-.-"-- 9 = +e eee ee ee ee ee 329 
Perrault=| 8-0 + = eS Be ee eee 329 
Pietro da Milano- ----------+--------- - 30 
Pilon, G ---------- ee eee ee ee eee 390,391 
Pinaigrier Rie << <<< = se = ee 419 
Pinsifriet, iN. AS) eel ee ee 419 
Pigaigrier, G.st-e~ = + = = << SS ee eee 419 
POUBSID TY canee leh = Se ee i ean laa ton 328 
Primaticcis,- ------ 40,100,110,115,116, 280,245, 266,274. 
RA PRACE) SoS) Suh ee ere eee me ee ee eee 40 
Reymond, Paik ee ee ee ee 416 
Robbia, G.della+ << ~ <5, Sh) Sire! peep re = 98,100,115 
Roghetel, eae = Sieh 6 eee eat ee ee 418 
Rosso --- - ee ee oe ee rr rere eee 40,1410, 115,272 
Robiiant: Te sear Si ee ee eee eee ee 79, 31 
Riots? Lana chery i i Me ee ie te roe 110 
BRT) ee ie meet ae Rt aT ne eee 234 
Shdbiches;Oi py Ae ee en a ee 210 


at 


7) 


ae hoe tahiee ee 
— 2 » <9 nOnOsee. 


Te ey Hise “foals 


id ton ph. sa  fondv 


~ ~oaG-elddetiony 
_— ~itgooaty 
A ae ~§ oneV 


Sarto, A, del ----------- --------+-- 49 
senault, G. -------- ese eee ete ee ee 75 
Seplio- ----------+-+--+-+---- 41,108,114, 227 
Sobier, Hewett tote ttt a tt = Ht, 152 Bae 
solario, A~- --- rr te treet rete cc ee 41,72,77 
Tesson, We—- ------ eee tee tee tr eK 
Theodore--- --- +7 te - tee rte et etree es 332 
Titian- -------- fs - eee tee ee ee eee 40 
TOLg, Cyan eo st cere pm aoe “ae ae i 16,18,20 
Trinqueau.-7+-- - - tt ttt tester c eee 95 
Valence, Pe ~~ eee cote te teste ee 76 
Vaultier, Ree -- - eo ttt ett eee err tote 125 
Viart ------- - oe ee ee ee ee eH ee eee 206 
Winel, be daa = - totter ae tee er sete tS 39 
Viollet-le-Ducq~ ------------ eee ee ee 98 
Visconti~ << - = - a ee Ss = ai oe ae 329 


Vouet, Ser-m-- - tot te et et see toes ~ 325 


<i 


a : * os . 4 =¥ rt od 7 ‘ : 
tS ak ot Se Salt ae 


in ge 


‘Aw = -avivoogaze? atnigeed | 
‘SASS maa Hn + = o's yet to weedadd 4st 
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vee 


Seok Teatbite 62 niet trotwun ogee | 


oF 6 sibsoraty aioe eis ts ochtexoged Pi sic 


ud bah ahiprtead vesitmoas oat to Boas anes sh 


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o 2 a eh ae Sheet 1D eS nsetekey sno 
- ~— ee me ee “site nhiy sdonodaed i. 
+ ao ‘Binsoansoe feisocy atty els isint 28 


< Seeered 1%. %5 soncdetowedel e*hivo noxd |g 
we me min ee eds mosis LO 
-~-= = -99lt 


| ak nae 


.BEOLg 
nono ve siifvosd. 2zokpwa’ itt 


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Bk-BazLioc. penesliC .ferce® wens to sence . Mt 
Pas -— Bisonotstioon veeceds at eqetfad (er 


$x) 


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ry 


See HS Ktogleeere syllfs? gh 


ain te mem es enele Bawesd Leflivetesay vseteso 88 


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~ +++ pinto Satbsif welols t5 cesceat! .o8) 
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eae avitosqetsq ni WeR¥ .brodmedd waedgad: ste 
elem ee gk iq’ baaoxd sSaddnens wesisk> .Sé 
- + eakide to naedaed Mtodmead peetees oe 
Ca ti i Ss gels Baebes SREY. pegtRdy she, 


thin Ne htarecee 4 i 


~ *e = =) aaly faookd Jeatodes $e: seate 30 08 
wom ek ew met bapowd Letcle ds seeded)’ 8S 
4-5 = = 4)halg Baues®), abr ted westeny (ee 
oie a vid be tong nap vel? .tolie® paeteed |, 89 
Heeibew .£S 


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wee a ie el ent 6 yd sotaod a. te 


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out Ristifgh sf2_ 


-govtelig Yo fettoss .o2cldsntacact ,ek 

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30. 


32. 


37 


363 
INDEX TO IGLUSTRATIONSs 
Pase numbers refer to orisinal text. 


Page. 


Veneration of the Madonna. Miniature of Fouquet - 11 
Inspiration of the apostles. Miniature by flouguet. 18 


Border by G. Tory -------------- 
Ornamental letters by G. Tory --------- 
Border by 0. Fine -------+--------+- 
Initials by 0. Pins -------------- 
Gartouche vignette- ------+-------- 
Tnitials with Moorish ornaments -------- 
From Ovid’s Metamorphoses of S. Bernard - -- - 
From the sam@ -----+-+-+-+-+-+-+--+---- 
Title page of Gousin’s Berspective- ---- - - 
Initials from Cousin’s Perspective- - - --- - 
Ghateau of Bury -------------- - 
Chateau of Blois, Dormer- -------+---- 
Mansion Rooville at Caen, Dormer- - - - - - —- - 


Arckhbishop’’s palace at Sens. Court facade - - - 
House of Agnes Sorel. Orleans. ceiling in upper 
bs ochsfoucald -------- 
ue. @apital of pilaster- ------ 
} 


me 


3 

pe OC ¢9 Q 
SS 
foto 
f-~ 
<<} 
e 
ry 


Gallery in 

Fontaineble 
Chateau du | 
Mansion a 


Chateau GE win oe sok tesa wnt teh earl en se 


3a 


Saud | 


fx 
‘Shateau Gallion. a tal BI agg oman yD. 
Chateau of Blois, Winding stairs- ------- 
Chat of Blois. Part of N. facade ----- - 
Chateau Chambord. View in perspective - - - - - 
Chateau Ghambord. Ground plan --------- 
Chateau Chambord. Lantern of stairs - - - - - - 
Chateau Madrid. Ground plan -- -----7-=--- 
Shateau Madrid. Part slevation- -------- 
Chateau of Fontatiiebleau. General plan- - - - - 
Chatean of Fontainebleau. Detail from oval court—- 103 


lois. Ground plan ------+---. 
lon. Gronga olan----+-+-+-+-+-- 


~ 16 
- 18 
- 19 
- 21 


- oi 
- 58 
- 55 


~ 102 


at me | ‘gd ? 
hd 4 } Dian " rh, 4 ha 
" vf oF ie) 
a? ¢ ; b ony a ub ti, 

i. 7’ 1" a4 Ak 
n i. 
Ka 
ian 


ma Bie ctbest taba Makdeebikess hthaghat 2°, ee 
“ib S = ~ ebeowt eased! ipactcentetacy to eeagadd 668.0 Ve 
) erie tone ‘mesldantedact $o geetedd 0b. 
pie asbic to sal? ,pasldeciataeg to seeded sie, 
= ael¢ fnaon® .eyed-ot-dtented .o to peated 485. 
| Bevete fhated soyst-ne-aknose 2 to nestadc 46h 
Poe Pf mm a +e melg Saved Lotteny 93 deotags bb 
ee Se A aslg beade® .esetedd pasted 2p. ) 
| oe ao a ee ~sieont torn? enavied2 oo77eads: Gd a 
Som lo ms monet budw cyendwote? neadedd we 
> - e@ulinegetec fisg .telidvos gey vepdedd: 83 
ee pele haps? sxupeonosatd -cecdadd 08 
SST SS 7 sehbORE sznsecaases csetany! 4 
te ee me & ~ ~avisoagets® jvicd eogtadd ohh 
~ en oH yelqg booad syliltnads poesedd «88 | 
+ <= + Jasco ai WOEV .ULlisgonsi® acotudly \2S (>. Pi 
‘ermal RUMOR Io wotlived .vilidoeds seasadd sa 
| Cemvpeei tate to nsf? ehihuseteds needenQ | oe 
se Yewiisde of weil .avheeetade sesdesg’ 8G 
Pamsee = = bhacn% .gesiit-ol-yexk usededd XB | 
epee = eS eneig bance? .fteactsca® geetaid o OS! 
ier: ein cee REY sgh led gcd} BEAT) | 
- es : io oo = + COneisas wncoe2D to gaetade .O8 
ee Se Sy ewelV seiconstadtook 2+ peatede LIS 
a ats. ret oe ROR Yeededh Ya raotedd && 
Hm ame ne es efeogt g1e8) \fesnnsded BAT BIO BB) 
pooe -cbseet g439 jepae of gedetcde-n %6 soetad. KB 
w= ~ +08f9 brood age te elLivoo} notnask eo 
b ~\-.> Ghats? fene0 .aheo te ellivoei) codenai) .58 
Him aalc Lonow eeealaO pt Leake SOnkh to eevok Na 
: if > Endlieg .eeneled ak texce compgi to eecok. Be ’ 
Sie wsle hanna yaseelaO ak Tictocet® S¢ oauek 18 
=> - -sebacs? eeu0d, bagels? hil AsdHaty Yo sevok .Cv: 
rie & Ledhrse sengelee at 1 eihnoxs to-egook LY. 
I Ek ake ba yt ably Bawow \engely0 at gen0!, SY» 
<a Wels saat we em mats bago'tg, ‘ahr cso ot esse 8h 
ee se. ote eet me CRORE: gede: anne {20 ae Sepoe .S% 
sSioviech hh aq 4 2800) pHa /ebaRel40 nt. oapoe | 
~~ rita By i's Sagan ufos a Ob CE00R 4a 


? ng ’ ‘ + han . 
wee oe j a et t% #> . ’ } ‘ , 4 P ys ca uke : 
‘| va i UV ) @ Be a OL Ps : i: ar 
: ay ‘ if f i ‘ Di ’ ry p i is a ak é > Pt : : P 
) AR hoe See ee eee Fe ae th 
Th Re Sm. f o Ua har, "i ’ 


na me) alt wie i - kaa a Als ps y e pl f ae a 
ex sie * A es Un ‘ OL, ge a 
| yan hh [ H ig 4 ee a 

; +s y rf alt " n Dares. VE, J hy Bota nae ini pe peek | vat? ie 


Oo VF Ww Ww 
oS OR 2% 


co Ww 
e 


Oo BG Oo po OL OF Ul Oi 
e 


© 
s 


Chateau 
Chateau 
Chateau 
Chateau 
Chateau 
Chateau 
Chateau 


C2 C2 € 
in sa oe 
fo & ff 
BY er 2ee 
oOo Dd & 
@ ft 9 
Gg os 


Chateau 
Chateau 
Ghateau 
Chateaz 


Chateau 


; 364 
of 


Fontainebleau. Part of facade of court -106 
of Fontainebleau. Theatre facade - - - - - -107 ~ 
of Pontaineblean. Ball room- - - - - - - - -109 
of Fontainebleau. Plan of older parts- - - -113 
of S. Germain-en-Laye. Ground plan - - - - -118 
of S$. Germain-en-laye. Detail elevation- - -119 
La Muette. Ground plan ---------- i404 
Chalivau. Ground plan ------ ------ 1238 
Shalvau. Front facade- ---------- -124 
Folembray. Ground plan.- ---------- 127 
Nantouillet. pars perspective- ------- 131 
Chenonceaux. Ground plan ------- - « whee 
Chenonceaux. Facede- --------+-+- — -134 
Bory. Perspective- -------+------- 136 
Ghantilly. Ground plan -----+------- 140 
Ghantilly. View in court - ----- ~~ — ={4i1 
Chantilly. Bavilion of Henry TI------- 143 
Chateaudun. Plan of stairway - -----=--=-= 145 
Chateaudun. View in stairway - - ----- -146 
Azveay-Le-Rideau. Facade ---------- ~147 
Beauregard. Ground plan- ---------- 150 
Chanteloup. View - -----------=- -154 
of Ussen. Entrance -------+---+---- 157 
ba Rochefoucald. View~ - + - -- = ie -159 
of Asaier.; Portal- --i- - --‘— — ==) eee 161 
Bournazsl. Part facade? -----+-+----- 185 


Palace of archbishop in Sens. Part facade- - - - -— -173 


Mansion Ecoville at Gaen. Ground plan- - - - - - - -176 
Mansion Hcoville at Caen. Gourt facade - ---- = -177 
Jouse of Agnes Sorel in Orleans. Ground plan - - - -182 
House of Agnes Sorel in Orleans. Ceilings ------ 183 
Souse of Francis I in Orleans. Ground plan -“- - - -185 
Souse of francis I in Orleans. Court facade- - - - = 186 
House of prancis I in Orleans. Capital ------—-= 187 
House in Orleans. Ground plant ------+---; - -188 
House in Orleans. Ground plan --------+-- — 185 
Jouse @n Oricans. Shop front --------+-+- - -139 
House in Orleans. Shop front ------------ 139 
House in Orleans. Poultry markst ---------- 130 


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House in Orleans. Windows- -----+---+-+---+--+- 199 
Houss in Orleans, Windows- -----------+- =-193 
House in Dijon. Part elevation ----------- 201. 
House of Francis — in Paris. View- --------- 208 
City nail in Otleans, Window ----------+-- 207 
City hall in Beaugency. Facade ------+------ 211 
Pountain at Mantes ------+-+-+-+-+-+----- 315 
Fountain at Clermont-Ferrand ------+---+---- 216 
Louvre and Tuileries. Block plan --------+--- 229 
Louvre. Gourt facade -------------+--+--+- 933 
House facede. Design by du Cerceaun --------- 237 
Chateau. Design by du Cerceau- - --+------ = = =-239 
De 1’Orme’s french column- -----------=<= 249 
Chateau Anet. Ground plan- ------------<- 251 
Chateau Anet. Detail of court facade - ------ = 253 
Tuileries. De 1l’Ormes’s plan----------+--+-+- 259 
Tuileries. Part of De 1’Orme’s garden facade - - - -261 
Chatsau S. Maur. Ground plan ---+--+--+--+--+--- 268 
Chateau Boouén. Ground plan----+-+--+-+-+-+-+-+- 269 
Chateau Ecouen. Perspective- ------------ 2F1 
Chateau Ancy-le-Pranc. Ground plana ----+------ 275° 
Chatean Ancy-le-Franc. Court facade- - - - - = - - -276 
Chateau Vallery. Court detail-----+-+-+-+--+--- 279 
ghategn Verneuil. Ground plan- - ----- - — = = =265 
Chateau Verneuil. Perspective- ------- - -— — -283 
Ghateau Verneuil. Gourt arcade, detail - - ----- = 285 
Chateau du Pailly. Part facade 42422444232 a Ago1 
Chateau Sullyflevation ----+-------+--+--+--- 295 
Chateau Ansgerville-B.illeul. Ground plan - ----- 297 
Chateau Angerville-Bailleul. Blevation ------- 299 
Chateau Maunes Ground plan ----------+-+-- 303 
Garden house at Montargis- -----+----+------ 205 
Chateau Vernusil. Plan of Garden ---------- 307 
House of du Gerceau at Orleans. Ground plan- - - - -309 
House of du Cerceau Bt Orleans. Faceda ------ - 3i1- 
Gity hall at Arras. Part facade- ---------- 318 
Mansion d’Assezat. Part fecade ----------- 318 
Louvee. Gallery of Henry IV. ----------- = 327 
Chateau Fontainebleau. Court of Henry IV ------ 330 


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116. Chateau Fontainebleau. Gallery of the stag - - ~ - -331 
117. Chateau Beaumesnil. View - --------+------ 339 
118. Mansion Montescot at Chartres. Ground plan - - - = -342 
119. Gity hall at La Rochelle. View of front- ------ 345 
120. S. Pierre at Caen. Choir ------------- 251 
121. Church S. Germain at Argentan. Interior of aisle-- -355 
122. S. Htienne ds Mont in Paris. Facade- -------- 859 
128. S$. Hustache in Paris. Detail of side ------- - 380 
124, Little church at Chambord. View- - --------- 387 
' 125. S. Michel at Dijon. Tower- ----------+--+---. 371 
128. S. Jacques at Rheims. Interior of chapsl - ----- 373 
127. Chapel S. Romain in Rowen. View- --------=+ -374 
128. Cathedral at Toul. Chapel S. Ursula- - - - -- ~ = =375 
129. Chapel enclosure at Fecamp ------------- 320 
130. Chapel enclosure in catacdral at Laon- - - - - - - -331 
131. Tomb in cathedval at Narbonne- ----------- 337 
182. Tomb of Louis XII. 5. Denis- ----------- ~389 
1338. House door in Blois-+--------------- 395 
184, French watdrcbe---------+----+--+--+------ 397 
185. Jus with lead glaze- -------+--+-------- 398 
138, Tiles from Sevres Mussum - -----+--+------ 399 
187. Mus by F. Brisot- ------------+--+------ 490 
188. Stoneware vasé ------------- ee 400 
189. Disk by Palissy- ----------------- -401 
140, Goblet by Palissy- ----------------- 402 
144. Dish by Palissy- --------------+----- 403 
142. Dish by Palissy- ------------------ 404 
148, Pitcher by Palissy -----------+------ 405 
144, Faience of Oiron -------+-------- = - -407 
145. Saltcellar in Oiton faience= ----------- = 498 
148. Majolica vase from Nevars----------+--+-s6 410 
147, Persian vase from Nevers -------------=-- 4190 
148. Floor tiles from palace of duke of Nivernois ~- - - -4i1 
149. Bnameled pitcher by P. Raymond -+--------- 4i8 
150. Bdge of enamsied dish by P. Réeymond- -------- Ai4 
151. Part of a dish by P. Reymond ----+---+-----+---= A15 
152. Back of a dish by P. Courtois--------+--+=-<s5 A17 
153. Glass dopuidsnib in chateau chapsl at Vinecennes- - -— -421 
154, Bookbindins for J. Grolier ------------= 425, 


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157. Bookbindinsfor library of Francis I- 
158. Bookbinding for Henry IIT ------ 
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162. Bookbinding by Le Gascon - --- - - 


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UNIVERSITY OF ILLINOIS-URBANA 
724.144L96G2ER co01 
HISTORY OF THE RENAISSANCE IN FRANCE. 2D 


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3 0112 024592930 


